Royal Scottish National Orchestra
Glasgow Royal Concert Hall
Saturday, November 7
Four stars
Miranda Heggie
To hear these two great Russian masterpieces both based on the same Shakespeare play in one performance is a real treat, and an interesting expose of the two composers’ different interpretations of Romeo and Juliet. Tchaikovsky’s tender, romantic score with its lyrical central theme focuses predominantly on the passionate love affair between these two ill-fated lovers, while Prokofiev’s tumultuous music further explores the bad blood and vengeance felt by the warring Montagues and Capulets. Under the baton of Peter Oundjian, the RSNO brought a dream-like quality to Tchaikovsky’s single movement Overture-Fantasy, perfectly capturing the poignant essence of the story. The rumbling tremolos from timpani and double basses added a dark and mysterious dimension underneath soaring violins, as Oundjian brought the piece to a powerful and dramatic finale.
Selected movements from Prokofiev’s ballet score were played with a wonderful sense of theatre, with Oundjian’s animated, expressive conducting fully illustrating the heights of emotion in Shakespeare’s tragedy, from moments of blood-curling terror to sublime delicateness. The sheer volume produced by the orchestra was staggering, especially in the Finale to Act II, where they played with a ferocious intensity.
In keeping with the Eastern theme of the evening, Armenian born Aram Khachaturian’s piano concerto was a kaleidoscope of colour as the orchestra gave a rousing performance of this intricate and exciting work. Despite this being soloist Xiayin Wang’s own premier of the piece, it was evident that she had a deep insight into the work as she played with conviction and integrity throughout. The power of the orchestra could have been more restrained here however, as Wang’s playing was sometimes sadly overshadowed.
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