MUSIC REVIEW: RLPO & Petrenko, Philharmonic Hall, Liverpool

Jun 5 2008 by Glyn Mon Highes, Liverpool Daily Post

Vasily Petrenko newly appointed principal conductor of the Royal Liverpool Philharmonic Orchestra _240

WHOEVER is tasked with drawing up summertime programmes for the Philharmonic decided to supercharge the June concerts in the Classic FM series.

Combine Orff’s version of the bibulously erotic Carmina Burana, two composers totally fascinated with gypsy culture and the sultry Spaniard de Falla and there is going to be fireworks.

The Orff piece is hugely familiar – and, for aficionados of Old Spice TV advertisements from the 1970s, there is more than just the opening chorus. But, while it is popular, it is notoriously difficult.

Vasily Petrenko conducted a model performance with the combined forces of the Royal Liverpool Philharmonic Orchestra and Chorus, as well as the superb Liverpool Philharmonic Youth Choir.

From the outset, the main choir demonstrated discipline, with the diction razor sharp. Even the male chorus in In taberna, something which often disappointments, provided edge- of-the-seat excitement. Petrenko built up the momentum until the last moment, superbly edgy Tempus et iocundum.

Of the soloists, baritone Owen Gilhooly was easily in front: a superbly rich voice which adapted to the different moods throughout the piece.

The counter tenor Daniel Auchincloss’s wrenchingly protracted song of the burning swan was well executed, while soprano Ailish Tynan, standing in at short notice, was excellent save for her final solo – Dulcisiime – which sounded messy and inaccurate.

Violin soloist Janine Jansen was electrifying. From the tear- jerking of Sarasate’s Gypsy Airs, total musical melodrama, she extracted the essence of the wistful, sad gypsy existence and turned it into a whirlwind of sound.

The same was true of Ravel’s Tzigane. Jansen’s display of double and triple stopping as well as left-handed pizzicato, was breathtaking. The orchestral colouring, too, was an excellent accompaniment.

De Falla’s The Three Cornered hat: Suite No 2 as an overture – a mini concerto for orchestra, almost – provided all the panache needed to make this another great night at the Phil.