High-energy Dvořák in Prague

The Year of Czech Music proceeds apace in Prague with a steady stream of guest artists offering fresh interpretations of the repertoire. PKF – Prague Philharmonia burnished an all-Dvořák program with a fine showing from a powerhouse duo, conductor Eugene Tzigane and violin virtuoso Midori.

Tzigane offered energetic readings marked by clarity and precision, but his main strength was in the dynamics. He showed an intuitive feel for the power and grace in the music that gave it a distinctive character, pulsing with drama and excitement yet never overreaching, rising to grand dimensions that melted easily into lilting melodies or soft, colorful solos. It’s an expressive style held together by an impressive technical command and an underlying sense of discovery, as if each phrase and passage is a new gem waiting to be cut and polished to a glittering finish. 

The overture to Dvořák’s early opera Vanda set the template: bold, sharp and uptempo, featuring bright, clear brass, ringing horns and woodwinds, and percussion with pop. The dynamics added depth, though by the end seemed overly grandiose for a short, relatively modest piece. The boisterous approach also masked an emotional vacancy that became evident over the course of the evening. No one can imbue Czech music with the warmth that native players bring to it, but even by that standard Tzigane seemed more of a technician than an artist at times, creating exhilarating music with a hollow emotional core.

Midori offered a welcome contrast with a riveting performance of Dvořák’s Violin Concerto in A minor, blending brilliant technique with a wellspring of feeling. She matched the intensity of the orchestra in the opening movement and then soared above it, spinning out the intricate solos like fine golden threads. Her playing had a light, flowing quality that captured the lyricism of the second movement and the high spirits of the folk dance rhythms in the finale. Both the audience and musicians responded with uncommon enthusiasm, bringing her back out for a dazzling encore of the Preludio from Bach's Partita no. 3 in E major that had everyone in the hall holding their breath.

For sheer exuberance, Tzigane’s treatment of Dvořák’s Eighth Symphony was nonpareil, an invigorating yet exacting run through all the possibilities in the music. If the opening movement was short on soul, it was masterful in creating an expansive soundscape and spotlighting glimmering woodwinds that were the heart of the piece. Tzigane handled them expertly in the tricky calls-and-responses of the second and third movements, where he also showed a lighter touch crafting melodies with charm. And it was impossible not to be swept up in the galloping finale, which even in a frenzied finish remained clear, crisp and buoyant. If this symphony could be rendered in CinemaScope and Technicolor, Tzigane would be the conductor of choice.

As it was, he gave it his all, out of breath after the final swipe of his baton and needing a minute to compose himself before turning to face the audience. While one might have wished for more of that passion in the music, overall it was a rewarding evening, with Tzigane and Midori turning in a technical tour de force and offering a reminder of how rich and resonant Dvořák’s music can be.