Dame Mitsuko Uchida’s performances of two Mozart concertos with the Mahler Chamber Orchestra at the Elbphilharmonie offered much to admire in her immaculate phrasing, precise textures and her hallmark sense of balance. While Uchida’s signature balance and refinement were evident, the concert occasionally felt overly pre-planned and thoughtful, rather than exhibiting the spontaneous, in-the-moment improvisation expected in a classical-period concerto performances.
This was particularly noticeable in the Piano Concerto no. 18 in B flat major, K456, where her precise phrasing and the MCO’s finely calibrated dialogue revealed both strengths and limitations. The string section’s deliberate articulation pauses at many phrase openings felt overly mannered, suggesting a result of rehearsal choices rather than natural flow. The slower-than-usual tempo, combined with a dynamic range often limited to piano-mezzoforte, gave the performance a restrained quality within a narrow expressive scope, diminishing the Allegro vivace energy.
Despite this, the woodwinds provided a lively counterbalance, and the double bass section provided a firm foundation and rhythmic propulsion, offsetting the otherwise overly delicate and refined atmosphere. Uchida’s performance, though technically assured, leant toward abstraction. Her touch transformed the grand Steinway into an ethereal, almost crystalline instrument, though this purity at times seemed to erase the music’s emotional immediacy, especially considering that the concerto also shares themes from Mozart’s operatic arias, which carry their own rich, vocal expressiveness.
Janáček’s nostalgic yet exuberant Mládí, performed at the end of the first half, offered a welcome shift in atmosphere. The woodwind players shone with spirited interplay, their musical chemistry and improvisatory flair injecting much-needed vitality. Enhanced by the Elbphilharmonie’s dynamic lighting and shadow effects, the piece evoked the surreal charm of an early 20th-century avant-garde film – a moment of playful escapism in the first half.
The second half featured Mozart’s perhaps most famous Piano Concerto no. 21 in C major, K467. Here, the performance gained momentum as the orchestra embraced greater dynamic contrasts, with the timpani adding a bold rhythmic presence that intensified the overall energy. Uchida’s own cadenzas in the first movement added a refreshing, individualistic touch, though the transitions between sections could have been smoother, showcasing her unique approach to the music. Seated closer to the stage, one could discern occasional fragility in her touch, and the piano itself revealed some faint clouding ‘wolf tones’ in second movement. In the Rondo finale, however, Uchida’s energetic scale passages were full of clarity and sparkle, moving beyond the polished smoothness of earlier movements. Her playing felt more alive, and the MCO responded with a greater sense of freedom and spontaneity, shifting their focus from overly refined details to a more natural flow. Together, they captured the playful charm and brightness of Mozart’s music, making the conclusion truly engaging and memorable.
A 30-second Schoenberg encore served as a minimalist epilogue, encapsulating the concert’s delicate character. While the audience responded enthusiastically, the evening highlighted a broader challenge: how to reconcile the precision and polish of modern orchestral traditions with the vibrancy and immediacy that Mozart’s music invites. Some transformative potential of subtle adjustments – added ornaments, dynamic variations, or imaginative phrasing – may have helped to breathe new life into familiar works.
For Uchida’s admirers, the performance undoubtedly reinforced her reputation as an artist of extraordinary refinement. However, tonight's performance may have fallen short of the inspired, improvisatory spirit that makes Mozart’s piano concertos so enduringly captivating.
