- Wednesday 20th April, 7.30pm
- Tchaikovsky Romeo and Juliet Overture, 21′
- Bernstein West Side Story – Symphonic Dances , 23′
- Prokofiev Romeo and Juliet – highlights , 50′
Review by John Quinn, SeenandHeard, MusicWeb:
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… “Shani and the CBSO gave a vivid account of the music. As the Jets and Sharks strutted their stuff in the ‘Prologue’ the playing was at first incisive and sassy and then brash and exciting, the bongos beating out frenetic tattoos. Shani ensured that ‘Somewhere’ was suitably yearning while the Coplandesque ‘Scherzo’ was light on its feet. The percussion section drove ‘Mambo’ along in manic style and as the movement reached its exuberant conclusion the CBSO trumpeters had a field day, blowing, as they say, mean horns. The sultry rhythms of ‘Cha Cha’ were well inflected. The ‘Cool’ Fugue is a terrific invention: who but Bernstein would have thought to introduce a 12-tone, rigorous fugue into a Broadway show – and who but Lennie would have made it so gripping? This section, above all, is where you realize how musically advanced West Side Story is. Shani built the music powerfully, generating a strident climax. ‘Rumble’ is just as advanced in terms of Broadway music; here it was done with great panache. Finally, the tender, tragic ending was really well done, the CBSO strings playing with great sensitivity.
Another Russian take on Romeo and Juliet followed the interval. A couple of years ago Andris Nelsons and the CBSO played a selection of numbers from Prokofiev’s great ballet score (review). Here Lahav Shani offered a selection that contained many of the same pieces. I remember that I greatly enjoyed the Nelsons concert and Shani’s performance was another fine one. Like Nelsons, his selection included many movements that lie at the heart of the drama but both conductors sensibly interspersed two or three of the lighter dance movements.
The start of Shani’s performance – ‘Montagues and Capulets’ – augured well, the massive dissonant chords built thrillingly and, at their peak, thrust home with great power. In the same movement we had the lumbering Knights’ Dance but also passages of much greater delicacy. ‘The Young Girl Juliet’ began with scampering eagerness but when Prokofiev shows us the more thoughtful side of her nature Shani was just as adept in bringing out the nature of the music. The ‘Balcony Scene began with a lovely depiction of a moonlit night from the CBSO. At the start of the encounter between the two young lovers I admired very much the lustrous tone of the cello section, and then the violins took over and sent the music soaring to the heights. Under Shani’s enthusiastic leadership the orchestra invested the music with ardour and romantic sweep but just as impressive was the spellbinding clarity that the players brought to Prokofiev’s magical scoring at the end.
From ardent young love we moved to violence with ‘The Death of Tybalt’. This was vivid and dramatic. The fight itself was fast and furious; no quarter was given. After Tybalt had been slain his body was borne off with shattering power.” …
Review by Katherine Dixson, BachTrack: (for same programme on 23rd April)
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… “Tchaikovsky‘s Romeo and Juliet Fantasy Overture was his third attempt at this subject but was still one of his early works. Its substantial introduction opens with solemn woodwind foreshadowing Friar Laurence’s fateful involvement then moves into pugnacious, jagged music, the irregular accents conjuring up flashing swords and setting up the conflict with a bang. Brass and percussion, particularly cymbals, were in their element while Shani showed both great enthusiasm and control over the build-up of volume and intensity. Furious bowing from the strings added a visual reference point as you could just imagine weapons flying. The audience was well and truly hooked.
A complete change of colour occurred with the move into the luscious love theme: tempo, dynamic, articulation and melody producing a heart-stopping plaintive contrast with the clash and clamour of the previous scene. A delicate harp spoke of moonlight shining on Juliet’s balcony. Shani urged the players to heights of tenderness, just as much as total involvement in the foreboding of eerie chords and fateful trumpets pealing out the Friar Laurence theme again as the tragedy unfolds. The funeral march coda, prefaced with menacing cello, brought the piece to a carefully-placed, emotionally-charged ending.” …