It is always a risk and a pleasure to programme some of the most well known works in the classical repertoire, and Italy’s Orchestra Mozart, joined by young Venezuelan conductor Diego Matheuz and pianist Maria João Pires, had some of the favourites on show in the Queen Elizabeth Hall on Thursday evening.
They opened the concert with the effervescent overture to Mozart’s Marriage of Figaro. Racing through the musical themes at a rate of knots, the score is overflowing with typical Mozartian comedy and fast-paced melodic ideas that never quite come to their conclusion. The tempo was always moving forward, giving the performance a sense of daring and anticipation, which the incredibly precise playing never allowed to falter. Matheuz’s conducting was understated and playful, and completely memorised, which was highly impressive.
We then welcomed Pires to the stage for Beethoven’s Piano Concerto no. 3 in C minor. A typically large-scale work, written in 1800, it was not finally premièred until 1803, and even then the score was incomplete and Beethoven improvised much of the virtuosic piano part. Tonight’s performance was no less impressive, with the fiendishly difficult cadenza passages managed with flair and the equally tricky accompanimental figures always well balanced and even. The highly dramatic first movement began with an ominous feel and the clean lines of the strings introduced the first themes with beautiful phrasing. After a tense and emotional development, the fiery piano cadenza launches straight into the tumultuous coda section without a break and storms to the end of the movement. The dramatic contrast with the dreamy second movement revealed some moving phrasing and articulation with beautifully even passages in thirds in the second theme. The Rondo follows without a break, with a cheeky theme which suited the playful nature of the orchestral group. The returning theme had a new meaning at each appearance and the fugal section, with the theme moving up from the bass created a web of interlocking melodies which gained ever more complexity before winding up the emotional drama toward the end.