SEEN AND HEARD INTERNATIONAL

Tchaikovsky and Prokofiev:  Alexander Toradze (piano), London Philharmonic Orchestra/Vladimir Jurowski, Royal Festival Hall, London 17.2.2010 (J-PJ)

Tchaikovsky: Fantasy Overture, Romeo and Juliet
Prokofiev: Piano Concerto No. 1 in D flat; Excerpts from Romeo and Juliet


Different takes on Shakespeare’s Romeo and Juliet framed this neatly programmed concert by the London Philharmonic. Jurowski’s direction was assured, and the playing was superb. Yet something was missing – a sense of youthful flair and danger which lies at the heart of the tale of star-crossed lovers.

One of the few risks which Jurowski dared take was at the beginning of Tchaikovsky’s Overture. His decision to linger over the introduction with its Friar Lawrence theme paid dividends, with its warm sonorities and suggestions of the medieval, modal world. But the rest of the piece sounded fairly pedestrian, with a disappointingly flat-footed entry of the famous love theme on cor anglais and strings.

Prokofiev’s first piano concerto was much more fun, and that was largely down to the antics of soloist Alexander Toradze. A big man, Toradze clearly enjoyed himself, beaming broadly throughout, and jigging around on his stool during the orchestral passages. His playing was more weighty and ponderous than is usual in this concerto, but this had the advantage of bringing the technical and structural brilliance of the work much more sharply into focus. His partnership with the LPO was also well excecuted in terms of timing and overall balance between soloist and orchestra.

The final half of the concert was taken up with a selection of excerpts from Prokofiev’s Romeo and Juliet ballet score. Eschewing the three suites drawn up by the composer, Jurowski chose the individual scenes himself. This worked well dramatically, with a clear unfolding of the scenario. But running for over an hour, it was a little over-long. Nevertheless, there were many highlights to be savoured – including the symphonic balcony scene and searing, tragic finale in the tomb. The whole of the brass section played particularly well, with well-deserved cheers at the end for cornet principal Nicholas Betts. But equally there were a fair few let-downs. The famous courtly dance at the Capulet ball lacked grandeur and menace, while the deadly sword fights between the warring houses sounded much less violent than Tchaikovsky’s version.

John-Pierre Joyce