SEEN AND HEARD INTERNATIONAL

Mozart : Mitsuko Uchida (piano); Marie Arnet (soprano); Anna Stéphany (mezzo); Andrew Kennedy (tenor); Darren Jaffrey (bass); London Symphony Chorus and Symphony Orchestra/Sir Colin Davis. Barbican Hall, London 30.9.2007 (CC)

On Thursday, the LSO played an all-Beethoven concert as part of the celebrations for  the 80^th birthday of Sir Colin Davis; this Sunday concert concentrated on Mozart. A conductor who has grown in stature consistently from decade to decade (and, indeed, shows no sign of slowing down), Davis exudes a knowing confidence. He is aware of his close rapport with this very special orchestra, and uses this special bond to fashion performances of the very highest standards.

The pairing of Davis and Kissin on Thursday was, on paper, a strange one. In the end, Davis seemed to bring out Kissin's humanity, especially in the first movement where Kissin's extraterrestrial automaton effect seemed far away (it was to re-surface in the slow movement, though). The 'Eroica' of the second half was by far the best I have heard from Davis' baton. The slow movement was lighter than usual, but there were still niggling doubts: occasional lack of momentum in the first movement and a rather disjointed finale.

No such problems in the Mozart. Sir Colin's Mozart may not be to everyone's taste (the authenticist movement might have a few problems), but it has a certain compelling quality. The orchestral part of Mozart's last piano concerto suited Davis well, in the event. There was a glow to the 'accompaniment' of the opening bars (we hear a couple of bars of gently throbbing accompaniment before the first theme enters). Despite one untidy moment from the first violins, this was a sterling exposition, made especially memorable by the delicate preparation for the piano's entry – so delicate, in fact, that even Uchida sounded slightly heavy-handed at first!. Yet it was not long before she reminded us of why she is so special. Semiquavers were beautifully articulated, and the line was darkened appropriately at various times; the cadenza was a beautiful journey.

Uchida is a mistress of the subtle. Her opening statement of the slow movement had a  simplicity that came from great experience. The finale, though, was remarkably sprightly (both piano and orchestra). My colleague Geoff Diggines, wrote about Davis' rather stodgy accompaniments in a Mozart 21^st back in March. Things were better here. A lovely surprise came with the encore, which transformed itself into a chorus of 'Happy Birthday to You' for Sir Colin!

The Requiem was recorded for a future LSO Live release. I for one will be seeking this recording out. Davis, eschewing big-name, established soloists, instead plumped for a quartet distinguished on first glance by its youth. In the event it was distinguished by four characterful and secure voices that worked perfectly as an ensemble, yet each of which delivere moments of real radiance. In these circumstances it is always difficult to isolate phrases, but if my arm were to be twisted I would spotlight the mezzo of Anna Stéphany. Her voice has just a slight edge so that it avoids the over-indulgent (her 'Judex ergo' was one of those discovery moments, while her contributions to the Offertorium were consistently cherishable). But when it came to the Recordare, the quartet appeared as a unit so successfully it sounded as if they were narrating one of the greatest of all storis (which, in a sense, they were). The LSC was on top form. Chorus altos navigated semiquavers with no trace of awkwardness, while the body as a whole gave huge weight to the Dies Irae.

If tenor Andrew Kennedy (who will sing Novice in the Billy Budd this December with the LSO) was a little lightweight, Darren Jeffery brought a great and unexpected lyricism to the Tuba mirum. Swedish soprano Marie Arnet has a silvery voice that offere many moments of beauty.

Sir Colin moulded the whole into one massive dramatic moment (no easy task when the patchwork nature of the Mozart/Süssmayer score is taken into account!). It felt like his crowning achievement (only later one reminded oneself of his Berlioz). I have previously harboured ambivalent feelings towards Davis. It took this performance to convince me of his stature. If you were not able to attend the concert, the CD release of the Requiem is a required purchase.

Colin Clarke