From Soprano Svetla Vasseliva’s vampish allure to Gianandrea Noseda’s warrior-like conducting, Prom 22 was a quintessentially Romantic affair with Russia at its heart. This Proms Choral Sunday, devoted to the music of Sergei Vasilievich Rachmaninov, brought impassioned performances from the BBC Philharmonic Orchestra (with Noseda at the helm), the Chorus of the Mariinsky Theatre and a hat-trick of Proms debutant soloists. Vocally speaking, precision was sometimes sacrificed to the gods of exuberance, but the rewards were frequently thrilling.
The curiosity of the evening was the two Dances from Rachmaninov’s one-act opera Aleko; written when he was still a student, the opera was deemed worthy of a Gold Medal in Composition. The Women’s and Men’s Dances showed us the raw Rachmaninov; lyrical yes, but not yet mature, or sure in his own voice as a composer. Aleko’s story of gypsy love and betrayal gives scope for some spirited interpretation, especially in the full-blooded scoring for strings. Fortunately, Noseda captured its feral youth, literally grunting at the cello and bass sections, who responded with exciting, aggressive bowing.
The opening work, the brooding cantata Spring, has a more sophisticated character. Its restlessness and lively use of percussion reflect its composer’s mindset at the time: hungry to write music once more after a three year drought of writer’s block and depression. That hunger for music life was expressed in some lively articulation, using rapid crescendos to create wonderful dynamic swells and retreats.
The distinctly operatic singing style of the Chorus of the Mariinsky Theatre took longer to get used to. Their full, fruity tone was utterly theatrical – quite different from, for example, English oratorios or motets. Pitch in the Sopranos’ upper registers was a grey area, but otherwise the chorus equipped themselves admirably against the BBC Philharmonic, who remain world-class. Alexei Tanovitski showed the most finesse of tonight’s soloists, his silky Bass voice finely controlled and his performance enjoyably expressive.
Three Russian Songs were not quite as satisfying; the Chorus’ diction all but disappeared in the first. But Noseda showed deep understanding of Rachmaninov’s distinctly Russian idiom, coaxing some warm, brooding colours in the orchestral tapestry of folk themes.