SEEN AND HEARD INTERNATIONAL

From Bruch to Piazzolla : Renato Ripo, cello and Péter Nagy, piano, Megaron – The Athens Concert Hall, January 16.1. 2008  (BM)

Renato Ripo

The Athens Megaron tends to get a good deal of press for their high-profile concerts and events, but some of the most memorable evenings I have experienced here have been recitals given in the more intimate surroundings of their smallest hall, dedicated to the memory of Dimitris Mitropoulos. One of my favorites to date was this month’s recital by cellist Renato Ripo, who hails from Albania (but has long made Greece his home), and Hungarian pianist Péter Nagy.

Their imaginative program began with an evocative rendition of Bruch’s “Kol Nidrei”, composed in 1880 and inspired by the Jewish hymn traditionally sung on the eve of Yom Kippur. Next came Beethoven’s magnificent A-major cello sonata, the autograph of which bears the words “inter lacrymas et luctus” (amid tears and sorrow), inscribed by the composer. It has been argued (alas, even in the program notes for this concert) that there seems to be little indication of these words in the music. It seems to me that the opposite has been proven by many a fine performance (since you’re presumably on-line, consult You Tube if you have any doubts), including this one: it was an arresting rendition that did full justice to a work  - as much written from inner spiritual need as  many others by this great composer -and  never used it as a vehicle for virtuoso showiness, despite the fact that the piece provides both instruments with quite a workout.

 

Péter Nagy,

After intermission, it was time for “East of the Aegean”, a fairly recent composition by 83-year-old Mikis Theodorakis (who could be seen sitting in the front row) which alludes to his roots, the blue sea and skies of his youth. What is not common knowledge though, is that it is also a return to his beginnings as a composer – and incidentally, a good deal of the chamber music he wrote as a young man has recently been released on Legend. This new offering has been put down a srather unsophisticated by some, but I would favor a more lenient perspective: lyrical melodic lines for the cello interspersed by crystalline piano highlights, are persuasively reminiscent of the simplicity and magic of childhood.

Debussy’s cello sonata followed, with all technical hurdles cleared with aplomb and the interaction between both instruments much stronger than at the average recital, while Nagy’s structured playing ensured that the textures were never in danger of being diluted or spoilt. The duo saved the best for last: Piazzolla’s “Le Grand Tango”, commissioned by Rostropovich, who premiered the work in 1990. Both musicians were at their best here, but it was perhaps the pianist who  made this performance particularly noteworthy, never allowing the general attitude that this is a showcase piece for the cello to relegate his instrument to mere accompanying status. The encore was Schedrin’s “In Albeniz Style”, exhilarating and much in the same vein.

Perhaps one thing that made this concert such a success was that the artists’ talents seemed so well matched. Renato Ripo’s style is distinctly debonair and his reputation for intensely passionate playing well-deserved - no coincidence that he was asked to record Taverner’s “The Protecting Veil” for the BBC a while back. Péter Nagy is not only a splendid soloist (Athenians who attended his two Liszt recitals a few years ago in this very same hall are aware of this) but also an empathetic partner and outstanding chamber musician, a master of the art of ensuring full participation for the piano without ever obliterating the other instrument(s). He may have fewer recordings to his name then Ripo, but those few are exceptional (for example, Ravel and Enescu with Leonidas Kavakos on ECM).

The bottom line: With any luck these two fine artists enjoyed the evening as much as their audience dis, and will decide to do it again!

Bettina Mara

Pictures courtesy of the Athens Concert Hall

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