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.