Brighton Philharmonic Orchestra
Brighton Dome
22 September 2024
Brighton Philharmonic launched its centenary season in fine form and even more incisive slickness and warmth than usual. There is no doubt that versatile, energetic Joanna MacGregor, now well bedded in as BPO’s “new” musical director, has rapidly taken the orchestra to new heights.
This concert, conducted by MacGregor with batonless elegance and verve, neatly coupled two great Russian works which were initially castigated: Tchaikovsky’s Piano Concerto no 1 (1874) and Stravinksy’s The Rite of Spring (1913)
Aidan Mikdad, from the Netherlands, is still only 23 but, with numerous awards, prizes and credits under his belt, he is already one of the most exciting pianists on the circuit. Taught by MacGregor for two years at the Royal Academy of Music where she holds a professorship, he made this great warhorse of a favourite sound fresh and dramatic. Yes, the opening needs to be grandiose and it was. His rendering of the cadenza was exceptionally sensitive and well judged right through to the tension of the pick-up trill at the end. Then came the almost painful beauty of the andantino in which the cello solo, filigree flute and the harp-like piano took us to chamber music territory : some achievement given the size of the orchestra and the vastness of the venue which was as full as I’ve ever seen it. The passage at the end before the final rall was breathtakingly fast – and perfect. No wonder the audience was reluctant to let Mikdad leave the platform.
After the interval, the removal of the piano and the arrival of more players it was time for what it probably Stravinksy’s most popular work. It is still as gut wrenching and startling today as it was 111 years ago at that famous premiere when Diagaliev got exactly the furious response he wanted and the piece was firmly launched. Incidentally there’s a richly evocative and convincing dramatisation of that first performance at the beginning of the otherwise weak and lacklustre 2009 film Coco Channel and Igor Stravinsky.
BPO’s account of The Rite of Spring was both assured and colourful. It was also edge-of-the-seat unsettling exactly as it should be given that The Rite is arguably the least cosy work in the orchestral repertoire. However many times one hears it, there is still plenty of shock factor and MacGregor made sure we heard, and felt, all the visceral anguish afresh. Highlights included the tantalising wind solos, the tutti passage with the cymbal, resonant pizzicato and sonorous horn work. And the strings were magnificent, especially when it came to playing their irregular rhythms against those gravelly, grating muted trumpets as the narrative soars to a quasi-sexual climax as the sacrificial dancer dies – and it all stops. Bravo BPO. You nailed it.
Photo credit: Fernando Manoso-Borgas
