mon 07/10/2024

Prom 55, Ólafsson, Berlin Philharmonic, Petrenko review - stealth and sweep from the greatest | reviews, news & interviews

Prom 55, Ólafsson, Berlin Philharmonic, Petrenko review - stealth and sweep from the greatest

Prom 55, Ólafsson, Berlin Philharmonic, Petrenko review - stealth and sweep from the greatest

Smetana’s national epic has abundant operatic drama and orchestral beauties

The Berlin Philharmonic and Kirill Petrenko in Smetana's 'Má vlast'All images by Chris Christodoulou

Is it because the British are wary of national sentiment from a genius that this performance of Má vlast (My Homeland) is the only major London offering in Smetana’s 200th anniversary year? Supple movement, emotional range and unerring climaxes from Kirill Petrenko and his Berlin Phllharmonic might encourage more interest in great operas Libuše and Dalibor (which Jakub Hrůša hopes for in his Royal Opera tenure).

Not, alas, in 2024. But let’s celebrate what we did have, a demonstration of why this might be thought of as the world’s greatest orchestra, and why comparisons between Petrenko K and Carlos Kleiber continue to seem apt. Their shared quality of febrile intensity isn’t always a virtue: this river Vltava seemed to flow too fast (its lovely main theme needs some space, surely)

Berlin Philharmonic Prom Yet the operatic rapid changes of the compressed revenge drama Šárka, the cut and thrust in the battle of Tábor and the helter-skelter celebrations of Blaník, with Berlin Philharmonic strings digging deep and clear in a way that I’ve heard from no other orchestra in the Albert Hall – and that from some distance – were super-vivid.

There’s something special about Smetana’s most moving moments: how odd that the cheeky little march which emerges after all the strife in the final movement, promising a happy end, should bring tears to the eyes. Above all, Petrenko’s players reminded us that, for all his love of cymbal crashing and piccolo piping, this equal first among Czech composers with Dvořák, Janáček and, yes, Martinů, is a master orchestrator.

All the quiet moments were spellbinding, none more so than the weird, shadowy fugal transformation of the opening adrenalin rush in “From Bohemia’s Woods and Fields” which takes its time to resolve into national pride. The woodwind are a dream; frustrating that, since the programme lists all principals, and it was hard to see faces from towards the back of the hall, I couldn’t tell you who were the oboist of the night, superlative in every entry from the first movement of the Schumann Piano Concerto before the interval onwards (update: I can see from the photo above that it's the great Albrecht Mayer), and the clarinet in the crucial Smetana solos. Vikingur Olafsson and the Berlin Philharmonic under Kirill Petrenko at the PromsFrankly, the hour plus of this multifaceted epic would have been enough. Memories of Maria João Pires with the same orchestra under Abbado in the Schumann at the 1998 Proms weren’t effaced by Vikingur Ólafsson (pictured above). Such is his colour-palette that I want to be more involved than I was; a touch of over-refinement always seems to get in the way. Another maybe unhelpful comparison is with Mao Fujita playing the Dvořák Piano Concerto with the Czech Philharmonic last week, since the Schumann is infinitely more familiar; but I know I’d rather hear Fujita’s profoundly musical and implicitly emotional way with the Schumann. Even the Bach Adagio from the Fourth Organ Sonata, charmingly introduced, seemed almost too preciously pianissimo at the start, too loud in imitation of the original instrument at the climax; all intellectually justified, but this heart remained untouched. A minority view, I know.

Comments

Albrecht Meyer and Sebastian Jacot were standouts for me. 

Ah, so it was my idol among oboists (though I hugely respect Jonathan Kelly as well), and yes, Jacquot was peerless as well. Presumably you could identify them more closely than I could; as the programme only listed all principals, hazarding a guess wasn't an option.

I was spellbound by the Bach and have been playing it ever since

Add comment

Subscribe to theartsdesk.com

Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 15,000 pieces, we're asking for £5 per month or £40 per year. We feel it's a very good deal, and hope you do too.

To take a subscription now simply click here.

And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?

newsletter

Get a weekly digest of our critical highlights in your inbox each Thursday!

Simply enter your email address in the box below

View previous newsletters