Works by Tchaikovsky and Smetana. Piano: D. Kozhukhin. Director: N. Szeps-Znaider. 16-X-2018. Works by Falla, Lalo and Stravinski. Fiddle: C. Tetzlaff. Director: J. Martín 17-X-2018. London Symphony Orchestra. National Auditorium. Madrid.
Ibermúsica opened its XLIX season with two concerts with the London Symphony Orchestra, a very frequent group in its programming, although this time it did not come with Simon Rattle, its owner, but with a director-violinist, Nikolaj Szeps-Znaider and a director- flutist, Jaime Martín. He played the flute but without embellishments. The orchestra is a jewel, whether or not it was its first formation, and is demonstrated especially in the velvety and full sound of the string, as well as in the spectacular lead chords of the tutti, in addition to a powerful sound that the two directors used in depth . Both were fortunate to have two very powerful keyboard and bow soloists, able to be heard in the middle of the, sometimes, monumental sound column. The Russian Denis Kozhukhin has recorded the first piano concert of Chaikovski with several awards. Of course he showed in this concert the aforementioned sonority, which some seemed excessive, and also the usual virtuosity in the current soloists. Different characteristics are shared by the German Christian Tetzlaff, a violinist already very reputed, in that concert for violin named symphony and composed by Laló imagining "his" Spain of Havana in five movements in which not everything is top quality but rather a pedestal of brilliance for Pablo Sarasate, who premiered it in Paris in 1875. A selection with four of the pieces of Smetana's "Mi patria" closed the first of the quotations in a correct reading but far from the unforgettable versions of Kubelik . Diaghilev's ballets took to the top "The three-cornered hat" and "The fire bird" and both formed the popular program of the second meeting led by Jaime Martín, who in a few days will repeat the same program in London, Madrid almost his general rehearsal. Surely there will moderate the percussion and, perhaps, the English horn and the oboist, excellent instrumentalists, will put some more flavor to Falla and Jaime Martin, who knew how to raise the dynamic contrasts in Stravinski, will also add a pinch of spiciness. An excellent orchestra for the beginning of the cycle, with two powerful soloists and two very popular programs, but which could not prevent us from missing some of the batons with which other times the LSO visited us.