Victor Stanislavsky knew how to make the piano sing, being well aware that melodies of Mozartrture of Abduction from the Seraglio.
By URY EPPSTEINJSO
Mozart is always more than welcome, of course, but an all-Mozart program including three piano concertos is a little too much of a very good thing, especially if variety is considered a guiding principle of good programming.
Still, Victor Stanislavsky displayed a most pleasant soft touch in Concerto No. 22. He knew how to make the piano sing, being well aware that melodies of Mozart, an opera composer, should sound vocal even on the piano. In the slow movement, he appealingly captured its lyric mood, and the final one sounded sprightly, playful and elegant.
Senior pianist Daniel Gortler might justifiably have felt proud of his disciple. Gortler himself presented an authoritative, mature rendition of Concerto No. 18.
In the Concerto for Two Pianos, the two pianists played in perfect coordination and with mutual attentiveness.
Conductor Daniel Cohen held the orchestra firmly in his grip. He adopted brisk and lively, yet not hurried, tempi in the Overture of Abduction from the Seraglio. Articulation was clear-cut, and he achieved a rich sound and splendid transparency.
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