The three finalists of this year’s Donatella Flick LSO Conducting Competition were selected from the initial 20 candidates in two earlier rounds. Compared to some of the other prestigious conducting competitions, this three-day event is short and tightly-packed, but certainly boasts some distinguished figures from the conductor world on the jury – this year, Sir Antonio Pappano, Yuri Temirkanov, Gennady Rozhdestvensky and Carlo Rizzi. Two current members of the London Symphony Orchestra, sub-leader Lennox Mackenzie (Chairman of the Jury) and bassoonist Rachel Gough, and the ever-elegant British soprano Dame Felicity Lott made up the rest of the jury.
The three conductors that made it to the finals were Vlad Vizireanu (Romania/USA), Kerem Hasan (UK) and Niklas Benjamin Hoffmann (Germany). Firstly they each performed the overture to Verdi’s overture to La forza del destino, and then shared sections/movements of Elgar’s Enigma Variations and Rachmaninov’s Symphonic Dances.
The eldest of the three, Vlad Vizireanu at 31, opened the evening with a composed, score-less account of the La forza overture. What impressed me most about him was the weighty and sonorous sound he got out from the LSO – at the big tutti moments he probably drew the lushest sound from them. His baton technique was generally secure, although occasionally he had problems with keeping the entries together – perhaps it was nerves. Also, in the Verdi and Elgar it seemed he had prepared everything so precisely and he tried to micro-manage certain details which sapped the music's forward momentum. He was most relaxed in the second movement of the Symphonic Dances; the waltz flowed and he brought out the dark Slavic melancholy of the music at the end.
Of the three interpretations of the La forza overture, I was most attracted by Kerem Hasan’s dramatic account. The tempo was certainly fast and had urgency, but more importantly, there was a fluidity and a sense of direction in his phrasing and he was able to shape the phrases with dynamics and articulation. For example, the beautifully hushed entry of Leonora’s prayer theme by the strings (marked ppp) gradually building up to its climax was magical. He kept his baton hand concise and clear but was very expressive with his left hand (often with clenched fist). In the Enigma Variations, I think perhaps he got the trickiest section – the theme and the first four variations – and though there was some thoughtful characterisation, he didn’t quite settle. On the other hand, he got to conduct the final dance in the Rachmaninov which had plenty of drive and youthful energy (punching out the Dies irae theme with his fist), especially in the outer sections.