Israel Philharmonic Orchestra 311.
(photo credit: Reuters)
Despite an all-Russian program, the Israel Philharmonic Orchestra’s concert last
week was altogether versatile.
No resemblance or common denominator could
be detected between Tchaikovsky’s seldomperformed Manfred Symphony and
Prokofiev’s Sinfonia Concertante (unless, perhaps, one used a magnifying
In the cello concerto-like Sinfonia Concertante’s first movement,
the orchestra does not accompany the solo part, but deliberately contradicts it.
In the second movement Prokofiev does the (for him) unexpected – unabashed
lyricism, alternating with breathtaking virtuoso episodes. In the final
movement, his grotesque and not necessarily friendly humor is, however,
Soloist Boris Andrianov conveyed all of these
characteristics with admirable sensitivity and brilliant, seemingly effortless
virtuosity, even in the most dangerously demanding passages.
Gianandrea Noseda unleashed tremendous orchestral forces in Manfred,
highlighting the abundant instrumental tone colors and shaping their subtleties
with loving care. The work’s emotional tempestuousness was conveyed with
The fugal episode of the final movement was performed
with amazing transparency. The concluding calm was as overpowering as the
In all, a superb performance of this emotionally