After the flamboyance of their recent tour of the Far East, the Royal Concertgebouw Orchestra (RCO) returned home for a programme of Schubert and Beethoven symphonies highlighting not just their individual musical talent, but also the intrinsic value of spending quality time on tour with colleagues. For the past month, South Korea and Japan’s concert halls have been a hotbed of musical talent. Not just from the RCO but also performances from the Berlin and Vienna Philharmonic who likewise flocked to the famed acoustics of the Kawasaki and Suntory Halls prompting plentiful opportunities for a meetings of minds, and even a little jollity.
The result: heightened levels of ensemble with all on stage literally breathing (and not just playing) as one. Adding into the mix two artists who first made their RCO debuts in the mid 1980s – Semyon Bychkov and Evgeny Kissin (1984 and 1988 respectively) was a further nod to the power of lasting and meaningful connections.
The programme
The concerto
As is often the case, Prokofiev’s First Piano Concerto has an interesting Amsterdam story. Possibly because of its brevity (lasting just fifteen minutes) the RCO have performed the work just seven times; the first in 1932, with the composer himself as both soloist and conductor. In the hands of Russian pianist Evgeny Kissin, Prokofiev’s music found an earnest maturity offset by skittish playfulness, as one hand literally chased the other, turning this way and that. Bursts of colour erupted before waves of sound, resonating deeply in the organ pipes, accompanied pianistic words of wisdom from on high.
Deep, resonant overtones continued as Kissin’s deliberately heavy pedalling to start the Andante put Prokofiev’s soul-searching lyricism centre-stage. The piano’s might, never in doubt despite the horns’ best intentions. This was a master in his element. Emerging from the cadenza’s pyrotechnics, first the trumpet and then the whole orchestra played a game of hide and seek before hurtling towards a glorious return of the piano’s opening theme.
Returning to the stage for just one encore (instead of three as per his last visit) Kissin concluded with a thoughtful account of Tchaikovsky’s Natha-Valse from his Six Pieces Op. 51.
The symphonies
Sandwiching the concerto, two symphonies which delighted in equal measure. First, Schubert’s Unfinished, full of opaque colours, dynamic contrasts, rising swells and elegant phrasing, reigned supreme in the expert hands of Korean-American guest leader Daniel Cho. Throaty trombones adding a very operatic vibe, vied with threatening double basses whose rattling spiccato foreshadowed impending doom before assertive horns put all in their place. Silky smooth violins set the scene for the Andante’s exquisite oboe and clarinet solos. Both Alexei Ogrintchouk and Carlos Ferreira were on fine form.
Likewise, Beethoven’s Second Symphony saw all on stage having fun. Again, immaculate phrasing and ensemble coupled with Bychkov’s incisive direction while conducting from memory, produced an interpretation full of drama. A cheeky Finale where melodic cellos competed with naughty woodwind and wilful violins, kept all on their toes.
This concert was reviewed at the Concertgebouw on Thursday 27th November, 2025
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