THE words of Rimbaud’s Les Illuminations may defy literal translation, yet Britten’s evocation of their underlying pictorialism is astonishing.
Though set for soprano, the voice of high tenor Mark Padmore brought a rare sense of sincerity, stirring into the mix of a string orchestra a robust projection.
Declaiming the motto and joining the bustling vista of city life, Padmore’s artistry conveyed all the wonder, fantasy and tenderness bound within Britten’s skilful settings.
A performance of startling intensity with Kirill Karabits drawing playing from the BSO to match.
The meticulously wrought Adagio that opened Beethoven’s Symphony No.4 created the intended effect of unnerving mystery.
The eruption into a thrilling rollercoaster ride where no punches were pulled typified Karabits’ own joie de vivre.
Lilting lyricism that rises impassioned and subsides in soothing sequence was subtly paced to allow the Adagio’s full breadth of orchestral colour.
Superbly defined clarity in the scherzo followed by the scintillating, witty contrasts of the finale came with the kind of adrenalin rush one might experience in white water rafting!
The deliciously simple re-composed music by Pergolesi et al that Stravinsky garnered for his Pulcinella ballet and subsequent Suite was here exquisitely turned to reveal every nuance of melodic finesse, wit and harmony.
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