The Orchestre de Paris returned to Amsterdam’s Concertgebouw for the third time in recent years with a programme of Rachmaninov’s Second Piano Concerto and César Franck’s somewhat pedestrian Symphony in D. Very conservative programming from the usually adventurous Klaus Mäkelä, a conductor this Dutch audience regard as their own. But with Russian pianist Anna Vinnitskaya in the hot seat, taking over from Yunchan Lim who performed the Rachmaninov last week in the Philharmonie de Paris, expectations were high.
The programme
The concerto
From the outset, the intuitive nature of their relationship was obvious as Mäkelä followed Vinnitskaya’s every utterance with ease. In contrast to the Moderato’s suitably bombastic conclusion, the Adagio’s opening, featuring piano duets first with the flute and then an earthy clarinet, felt fluid and natural. Vinnitskaya’s delicate touch teased the ends of phrases before searching for unexpected syncopations and arpeggios deep in the bass. Making the most of Rachmaninov’s lush lyricism, their partnership time and time again whipped up a delicious fury. Vinnitskaya’s impressive power, now in stark contrast to her previous vulnerability.
Forceful strings and a curious bassoon matching the piano’s tone perfectly, took the lead. And while ominous cymbal shimmers foreshadowed potential doom, the ensuing, sprightly contrapuntal mêlée and emphatic horn ensured an exciting Finale. Returning to the stage for a little more Rachmaninov, her rendition of Etudes-Tableaux Op. 33 no.2 impressed.
© Clare Varney
Comparisons
As attention turned to Franck’s Symphony in D, comparisons between the man before us today with his friends from Paris, and the Klaus Mäkelä familiar to Amsterdam audiences as chief conductor designate of the Concertgebouw Orchestra, came to the fore.
Speaking in interview before the Mahler Festival last year, Mäkelä addressed this very topic with Preludium magazine, arguing that time spent leading these two very different orchestras allows him to ‘tap into, and develop different sides’ of his character whilst embracing each ensemble’s distinctive sound culture.
This distinction was evident on stage tonight. In front of the Orchestre de Paris, Mäkelä’s gestures seemed explicit – even emphatic. And his movement on the podium, much more energetic – at times bending so deep that he almost touched the floor. The Paris orchestra’s sound really is distinctive. Double basses seem lighter while brass and woodwind are throatier; and surges through individual notes give unexpected light and shade, even if tuning faltered at times. Silky, nimble strings likewise allow great flexibility.
One conductor, yet two completely different results.
Their encore, Bizet’s Allegro from his Symphony in C, buoyed spirits, but with strains of ‘More, More!’ resounding around the Concertgebouw, I was not the only one it seems who had hoped for more.
This concert was reviewed at the Concertgebouw on Wednesday 18th March, 2026
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