Regal recital from king of the cello
CONCERT
WA Symphony Orchestra
Perth Concert Hall
4.5 STARS
Has there ever been an orchestral work more profound and moving in its evocation of regal status than Ernest Bloch's Schelomo?
Initially, the composer had considered using the human voice to represent King Solomon but later settled on the cello for that purpose.
It was an inspired decision.
Cellist Mischa Maisky, with abundant white locks in an Handelian hairstyle and wearing an electric-blue, loose-fitting shirt, was incomparably persuasive. Here, Maisky summoned up the biblical king of Ecclesiastes to magnificent sonic life, with the subtlest inflections of tone and rubato to evoke the changing moods of the score. Here we listened to a king of the cello evoking the grandeur of biblical royalty.
The flawless ribbon of sound which Maisky drew from the cello called vividly to mind the playing of the late, great Madame Suggia. Praise can be no higher than this.
As if inspired by Maisky's artistry, conductor Asher Fisch and the WASO responded with a frankly magnificent accompaniment. This was an incredible performance.
There was more impressive music making after the interval with Maisky, now garbed entirely in black, playing the excruciatingly complex and demanding solo part of Richard Strauss' Don Quixote.
Throughout, Strauss’ delightful sonic notions of the zany, impulsive, naive and eccentric Spaniard were gleefully evoked by the soloist. The orchestra, too, rose to the occasion, although not quite at the stratospherically high level that helped make Bloch's Schelomo such an auditory thrill.
It’s been 22 years since Don Quixote was last programmed by the WASO. It was certainly worth the wait.
Both the Bloch and Strauss works are no-man’s-land for all but the favoured few of the world's cello fraternity. On Friday, Maisky left no one in any doubt he has membership of that elite company.
Beethoven's Leonore overture No. 3 was the curtain-raiser. Kettle drums sounded excessively loud here.
CONCERT
WA Symphony Orchestra
Perth Concert Hall
REVIEWNEVILLE COHN
