In this, the celebratory year of Rachmaninov’s birth, we are blessed with performances of works heard perhaps less frequently in the concert hall. Rachmaninov’s Third Piano Concerto, considered by many pianists to be one of the hardest in the repertoire, falls into this category.
So the two questions before us tonight were: would this performance by the tiny Dutch Russian pianist, Sofia Vasheruk, meet the huge demands made by Rachmaninov where the sheer dexterity and strength required to perform this work are staggering? And secondly, would this interpretation be an overtly romantic reading as is so often the case, or instead a rather more intimate and measured reading more akin to the recording made by Rachmaninov himself in 1919?
Dressed in a stunning black dress, Vasheruk seemed completely at one with the piano as she carefully unfolded layer upon layer of complexity, drawing us ever closer into an intimate and highly nuanced sound world.
The Oost-Nederlands Symfonieorkest under the able direction of Jeppe Moulijn followed her every turn as she sashayed and swirled through the bounteous melodies.
This was a pianist in her prime, relishing every moment, every note and taking us on an emotional rollercoaster.
In a famous quote, Rachmaninov recounts a rehearsal with his contemporary, Mahler, where they agonized over each note in detail. That recollection seemed so apt tonight in a performance where each note was laden with meaning; each note either moving away from one phrase or moving towards another. And nowhere more so than in the cadenza, full of understated and restrained emotion. Vasheruk worked the very generous acoustics in the Muziekcentrum as we waited with bated breath for each twist and turn.
The biggest complement a reviewer can give an artist is to admit the inability to write, so as we moved into the second movement, the beauty of the music stilled my pen and I, along with the rest of the audience, sat mesmerized by the endless lyricism.
It was here that the close and fruitful relationship between the soloist and conductor came to the fore.
As we moved seamlessly into the third movement, we witnessed an orchestra on fine form with rich first violin entries, strong and confident horn solos, twittering flutes and sonorous double basses, but it was the entry of the snare drum, pushing the music ever onward which really changed the tone. Cheeky piano passages peppered the orchestral texture and the piano positively sparkled as Vasheruk found a staggering dynamic range.
They say the art of a true master is to make even the hardest music seem effortless. Well this was certainly the case tonight. All seemed effortless and at times we could have been forgiven for forgetting the complexities and daunting challenges in the score.
This was a wonderful performance and one which will be remembered for years to come. After the tumultuous applause, the lights dimmed and Vasheruk delighted with Chopin’s Nocturne Op. 15 no. 2, a composer much loved by Rachmaninov himself. It was as if we were all invited into her home. What a wonderful way to end.
The orchestra finished with Sibelius Symphony No. 5 after the interval.
Reviewed at the Muziekcentrum, Enschede on Saturday 18th February, 2023
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Further Reading and Listening:
Trifonov transfixes the audience with nuanced, highly addictive Beethoven
Sofia Vasheruk Gives a Masterclass in Lyrical Playing in the Piano Festival Ootmarsum
