Dark, forbidding and sombre tones opened the Royal Liverpool Philharmonic Orchestra’s concerto with the orchestra’s Conductor Laureate Vasily Petrenko, in a programme rather oddly marketed under the title 'White Nights'. Mieczysław Weinberg’s Rhapsody on Moldavian themes for orchestra played very much to Petrenko’s expressive strengths. The first theme, on the cellos and basses, had a sinister quality, while the opening oboe theme was laden with melancholia, almost evoking the most profoundly shadowy moments in Shostakovich’s symphonies. The playing from the woodwind and strings was tightly unified with Petrenko’s gestures, giving him everything they could. The musicians relished the folksy elements of the work, with the faster themes whipping themselves into a hypnotic frenzy, almost dancing themselves to death.
Shostakovich’s Suite for Variety Stage Orchestra followed. Petrenko’s depiction was almost like a happy-ending version of Petrushka set in the Kit Kat Club, with its dances having more than the occasional leanings into jazz. The opening March was full of cheer and jollity. The Dance I and Dance II contrasted well, the first jovial and lighthearted, the second relaxed with Petrenko emphasising the music-box qualities. In Little Polka the saxophones really came into their own. The fifth-movement Lyric Waltz had a more sultry feeling, but the unity within the orchestra was very clear here, with accordion player Luke Goss giving a commendable solo. Waltz I was had lovely phrasing with much rise and full, but tastefully executed. Waltz II – the most famous movement of all – was done with simplicity, which was highly effective. Petrenko found all the fun in Finale, which wouldn’t have sounded out of place as the soundtrack to a Tom and Jerry cartoon with its demanding and playful xylophone solo. Overall the suite brimmed with character, bringing more than the occasional smile and murmur of laughter from the full house.
After the interval came a remarkable rendition of Tchaikovsky’s Fourth Symphony, with Petrenko having a strong vision and the orchestra being able to deliver it with conviction. The horns' delivery of the opening fanfare was pristine in the Andante sostenuto. The response from the brass was intentionally harsh but controlled, whilst the chords from the strings were a brutal stab to the heart. This set the tone for what would be an emotionally turbulent performance, in what felt like a ballet without dancers. The strings had some beautifully lyrical moments, and with some sudden pianissimos, there was both movement and stillness.
The Andantino in modo di canzona had an exquisite solo from oboist Helena Mackie. The cantabile melody unfolded like a song without words. With its pizzicato strings, the Scherzo was full of playfulness, but the phrasing here was very effective, whilst the central Allegro section for woodwind and brass was very dancelike. There was certainly much fire in the Allegro con fuoco that rounded off the symphony. The way in which the players could switch the dynamics from fortissimo to piano in the flick of a switch was impressive. The vitality, radiance and energy which ends the symphony blew away the clouds that opened the evening, finding that cheery conclusion we’d all been waiting for.
Certain players stood out. Pianists Ian Buckle and Richard Casey seemed to have great fun in the Shostakovich. Jenny Hutchinson's energy throughout on the piccolo was remarkable, as was leader Thema Handy in her solos. All in all this a formidable evening, and the standing ovation for Petrenko and the RLPO was well deserved.
