SEEN AND HEARD INTERNATIONAL

SEEN AND HEARD UK CONCERT REVIEW

 

Khachaturian, Elgar and Rachmaninov: Elizabeth Sikora (mezzo soprano), Ivan Kiwuwa (piano), Ealing Symphony Orchestra, John Gibbons, St James's, Piccadilly, London, 10.6.2010 (BBr)

 

Khachaturian: Galop (Masquerade Suite) (1944)

Elgar: Sea Pictures, op.37 (1899)

Rachmaninov: Piano Concerto No.2 in C minor, op.18 (1900/1901)


This concert was given in aid of Maternity Worldwide (Saving lives in Childbirth) and what a fine show it was. Perhaps the Khachaturian Galop wasn’t the best opener for it is a real rumpus and the fast music was somewhat blurred in the large acoustic of this beautiful Christopher Wren Church in central London. Things improved immediately with Elgar’s Sea Pictures. John Gibbons is a real friend of English music and he has an Englishman’s heart when it comes to homegrown compositions. With the perfect soloist – Ms Sikora is a rich mezzo, with a fruity chest register as well as a top A above the stave, perfect enunciation – every word could be clearly heard – coupled to the best and most intelligent use of vibrato I’ve heard in some time – and an orchestra at its most responsive, Gibbons brought about a performance which was by turns gentle and loving, wild and fantastic. The even numbered songs, tender, restrained utterances, were wholly delightful, Ms Sikora here showing admirable command and tenderness, whilst the third and fifth were full of the most exciting climaxes and sea swell. We tend, these days, to accuse Elgar of not choosing particularly good verse to set to music, but Dominic Nudd, in his admirable programme book, made the point that the texts Elgar chose were by writers who were, at that time, well known. Admittedly they are not the best, or greatest, writers but, perhaps, we should allow them a little more consideration than we have in the past. This was a fine performance and, for once, one cannot complain that the texts weren’t published in the programme book for Ms Sikora ensured that every syllable was clearly audible.

After the interval Ivan Kiwuwa, a young Ugandan pianist, currently undertaking postgraduate studies, gave a very studied and wholly satisfying account of the famous Rachmaninov 2^nd Concerto. Choosing tempi which were more deliberate than we are used to, and which worked well in the big acoustic, he led a performance which was full of good things, not least the most brilliant pianism. Gibbons told me later that Kiwuwa had kept things in reserve for the performance and he wasn’t entirely sure of the interpretation but he knows how to work with a soloist and, whilst supplying solid support, he brought out much detail in the orchestral writing which can, sometimes, be lost, and gave a fine account of the piece. Best of all was the slow movement, with flutes and muted violins stealing the show, and Kiwuwa displaying an intelligence in his role, at those moments, as accompanist. Keep an ear out for Kiwuwa for he has a lot to say and knows how to say it; this is a talent to be nurtured.

 

Bob Briggs