Pianist's skill almost too good to be true
March 19, 2011
Winnipeg Free Press
By Holly Harris
ONE of classical music's greatest legends holds that fabled violinist Niccolò Paganini sold his soul to the devil in exchange for his renowned, dazzling virtuosity.
The Winnipeg Symphony Orchestra may have discovered another musician in the pact in its latest Masterworks offering, with guest pianist Orli Shaham thundering through 20th-century composer Sergei Rachmaninov's Rhapsody on a Theme of Paganini, Op. 43 as if her very life depended on it.
Marking her WSO debut, Israeli-born pianist Shaham performed the heart-stopping showpiece Friday night with the all-Russian program led with gusto by maestro Alexander Mickelthwate.
The critically acclaimed, 35-year-old Shaham maintains an active solo career performing with major orchestras around the world. She is equally at home in broadcasting, writing, and lecturing and currently serves as curator for the Pacific Symphony's "Cafe Ludwig" chamber music series.
Based on Paganini's iconic 24 Caprices for solo violin, Op. 1, the ostensibly one-movement piece consists of 24 variations based on the original 24th Caprice. It barrels through its many guises, only briefly reposing and modulating into several major keys along the way as temporary relief.
Shaham is an artist who knows what she wants, immediately setting herself to the business at hand. She performs with a conviction and power beyond her years, from her opening dramatic chords to florid passages and flashy bravura technique displayed throughout her performance.
Only occasionally, her playing bordered on harshness, but this is a very small quibble. Her innate sensitivity came into full bore during the work's gorgeous, lushly orchestrated eighteenth variation.
Her waves of sound, including a flexible rubato, were tasteful and perfectly voiced, lulling the ear until the next biting variation. Two curtain calls from the enthusiastic -- if not lean -- crowd of 724 were well-earned.
The program opened with Sergei Prokofiev's Lieutenant Kije, Symphonic Suite, Op. 60 from the Lieutenant Kije film that teems with life and folkloric colour.
Mickelthwate kept a taut rein on the orchestra, crisply directing with militaristic precision throughout its four programmatic movements depicting the Lieutenant's birth to burial. Principal player Brian Sykora's mournful offstage trumpet solo underscored the drama of the popular piece.
The concert also included Rachmaninov's Symphonic Dances, Op. 45. The three-movement orchestral suite composed in 1940 was the Russian composer's last work and a wistful homage to his native Russia and own musical life. It also features the relatively rare appearance of an alto saxophone, performed by Allen Harrington during the opening dance.
You could think of this all-20th-century program as a concert of contemporary music for those who may still be hesitant to dip their toes into new music waters. But still as fresh as when first composed, the music continues to speak to 21st-century ears with a timeless voice.
The concert repeats tonight at the Centennial Concert Hall, 8 pm.