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| Tugan Sokhiev, Vienna Philharmonic – Salzburg Pageant (Picture: Marco Borrelli) |
Ravel: Piano Concerto in G, Debussy: La Mer, Prokofiev: Romeo & Juliet (excerpts); Lang Lang, Vienna Philharmonic Orchestra, Tughan Sokhiev; Salzburg Pageant at Grosses Festspielhaus
Reviewed 8 August 2026
Vividly etched actions and a way of actual danced drama in episodes from Prokofiev’s ballet alongside Lang Lang in considerably self-indulgent temper in Ravel
The Vienna Philharmonic Orchestra and conductor Tugan Sokhiev are previous pals. He has carried out them on a number of excursions in addition to the gala live performance to have fun Johann Strauss’s two hundredth birthday, and this yr they’ve a European tour.
On Saturday 8 August, Tugan Sokhiev carried out the Vienna Philharmonic in a matinee live performance on the Salzburg Pageant within the Grosses Festspielhaus with Ravel’s Piano Concerto in G (soloist Lang Lang), Debussy’s La Mer, and Sokhiev’s personal choice of actions from Prokofiev’s Romeo & Juliet suites.
We started, unusually, with the concerto. Lang Lang began out mild, virtually reticent, a twinkle somewhat than dazzle contrasting with crisp jazz within the orchestra. However then with the second topic, his method was intimate, laid again with loads of rubato somewhat leaving blues and jazz behind. All through the motion there was this robust distinction between temper and tempo and I confess I discovered Lang Lang’s extra laidback passages considerably self-indulgent. The second motion started quiet, sluggish and considerate, although depth picked up because the orchestra joined the soloist. But general, it appeared outstanding to maintain the depth at such a sluggish temp. The third motion actually did give us quick, vivid dazzle, with a powerful orchestral character and advantageous woodwind solos. The top was so quick it felt like Lang Lang saying ‘have a look at me’.
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| Lang Lang, Tugan Sokhiev, Vienna Philharmonic – Salzburg Pageant (Picture: Marco Borrelli) |
La mer appeared to start out from nothing, magic sounds that have been barely there. Sokhiev saved a richly layered watery stream with loads of element, readability right here somewhat than impressionistic results. From the fabulous cello part the music ebbed and flowed, although often it felt becalmed as if Sohkiev focused on element. The second motion was all fragments of shimmering textures, swift and delicate. Sokhiev appeared extra about element than general form, quick and vivid climaxes, barely there moments and magic on the finish of the motion. The final motion started with nervousness and urgency, the joy managed. We had a splendidly poignant oboe solo and terrific trumpet tonguing. The ultimate climax, when it got here, was pressing however felt too little too late.
After the interval, Sokhiev and the orchestra appeared reworked. His speeds in Prokofiev’s Romeo & Juliet at all times conveyed a way that this was danced drama, every motion vividly etched, displaying the orchestra off, true, however creating actual drama.
Sokhiev’s choice of actions consisted of the second suite plus two actions from the primary. Montagues and Capulets started with robust, intense brass contrasting with quietly sustained strings, resulting in a vivid dance (‘Dance of the Knights’) with remarkably robust bass. Juliet as a younger woman was all pleasant skittering and stuffed with contrasts. Friar Laurence was wealthy and darkish adopted by Dance that was quick and vivid with crisp element and sharp solos. Romeo and Juliet earlier than parting (the balcony scene) started atmospherically with and stylish flute. There was a classicism to Sokhiev’s method and the music lack actual romantic sweep till the total orchestra joined in. Dance of the women with lilies had a fragile class to it, even the tambourine, with a advantageous violin solo giving a chamber music really feel. Then Romeo at Juliet’s tomb was intense and pressing, a gradual tread within the orchestra having actual weight to it, resulting in pure magic. From the primary suite we heard the managed pleasure of Masks then the vivid impetus and urgency of Tybalt’s loss of life slowing to highly effective anger.
Inevitably, efficiency of Romeo and Juliet comes with photographs. I first noticed the ballet in Kenneth MacMillan’s model for the Royal Balled in 1970 or 1971 as an impressionable teen. Natalia Makarova was an unforgettable Juliet (in one among her earliest appearances following her defection). MacMillan’s ballet made an enormous impression and people photographs reoccur in efficiency of the music in live performance. And I can let you know, this was a efficiency stuffed with such reminiscences.
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- Past the Gothic melodrama: Opera Holland Park revives Verdi’s Un ballo in maschera with Elin Pritchard, Matteo Desole, Dario Solari – opera assessment
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