- Tchaikovsky Hamlet , 20′
- Saint-Saëns Cello Concerto No. 1 , 19′
- Berlioz Romeo and Juliet – Love Scene , 14′
- Stravinsky The Firebird – Suite (1945), 29′
Review by John Quinn, SeenandHeard, MusicWeb:
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… “Tchaikovsky’s Hamlet is not heard as often as it should be. It lacks a big, sweeping tune such as one finds in Romeo and Juliet and it’s not as wild and passionate as Francesca da Rimini but it’s still a fine piece. Collon led a very successful performance, establishing a sense of foreboding in the opening pages and then bringing out all the dramatic elements as the music unfolded. There was a lovely oboe solo (Rainer Gibbons) portraying Ophelia and, indeed, in that section the rest of the woodwind were just as fine. I was impressed with Collon’s handling of the score though perhaps just a little more ‘give’ in the piece’s lyrical passages would have been welcome. He obtained excellent, keenly responsive playing from the CBSO. In the brief coda Tchaikovsky’s tragic ending was successfully done, not least because Collon didn’t overdo the emotion; an element of patrician restraint was most appropriate.
The young German cellist, Leonard Elschenbroich joined the orchestra for the Saint-Saëns concerto. It was written in 1872 for the Belgian cellist, Auguste Tolbecque who must have liked the work for I learned from Richard Bratby’s programme note that he was still playing the concerto in public in 1910 at the age of 80. And why would he not have liked the piece? It’s relatively short – about 20 minutes in this performance – but it gives the soloist plenty of opportunities to shine both in virtuoso writing and in lyrical stretches. The three movements play without a break.
It seemed to me that Elschenbroich was very well suited to the concerto. Needless to say, he had the necessary technique to despatch the virtuoso passages with seeming ease. Moreover, the consistently burnished and lovely tone that he obtained from his 1693 Goffriller instrument meant that the many lyrical passages were a delight. Indeed, his tone compelled attention throughout the performance. I especially liked the central Menuet movement. Here the orchestral strings displayed sensitive courtliness in playing the minuet material at the start – and later their woodwind colleagues were equally felicitous. In the meantime Elschenbroich made his countermelodies sing in a most attractive way. The vivacious finale was despatched with high spirits by soloist and orchestra. This was a most enjoyable account of a thoroughly engaging work.” …