The young Chinese-American pianist Lang Lang then appeared dressed as if he were going to spend a day at the seaside with Slatkin he gave a remarkable performance of what, in indifferent renditions, can be regarded as a tired old war-horse. This was, quite simply, astonishing playing displaying a level of technique that was phenomenal but, much more importantly, conveyed an understanding of the musical values of the score. This hackneyed piece was re-evaluated here. Lang Lang and Slatkin considered the work seriously and gave it the care and attention it so rarely receives.
After the brazen horns of the introduction, the strings played the first theme with an expression that was both noble and poignant, and Lang Langs chords were not simply thundered out inconsiderately. This opening set the pattern there was real weight and dignity. Even the pianos fireworks felt related to the structure. Lang Langs striking virtuosity responded to the composers many fearsome challenges with apparent ease, and his quiet playing was articulate and also winningly skittish where appropriate.
Lang Lang was engaging in his response to orchestral soloists the expressive flute solo at the start of the slow movement indeed, this sense of give and take was a particular feature of the performance. The rollicking finale had a truly dance-like quality, and Lang Lang appeared to positively relish the taxing nature of his part. He is the subject of much hype and promotion. Whilst he clearly has engaging personality and presence, I was thoroughly impressed with his musicianship.
Given that one of the main themes of this years Proms is Greek myths, it was perhaps odd not to have had any related work in the opening night. However, 2003 marks the 50th anniversary of Prokofievs death. The music he wrote for Eisensteins film Ivan the Terrible is a classic of the genre. Unlike his score for Eisensteins Alexander Nevsky, Prokofiev did not fashion Ivan the Terrible into a concert entity. There have been several attempts to do so, but the original by the conductor of the soundtrack, Abram Stasevich, made in 1962, is probably the best practical solution.
Yet there are drawbacks, with several scenes compiled from disparate sections, and one cannot help empathising with Shostakovichs comment regarding Alexander Nevsky: Despite a whole series of wonderful moments, I dont like the work in its entirety It seemed that many sections end before they get started. Whatever reservations there may be about the oratorio version of Ivan, this performance made the best possible case for it. Leonard Slatkins enthusiasm drew a committed response. Simon Russell Beale had the difficult task of portraying a variety of characters. This he managed creditably, without descending into caricature. The vivid colours of the orchestral writing were extremely well realised, whilst the security of the combined choruses singing in Russian, whether fervent or prayerful, was admirable.
Irina Tchistyakova provided an authentically Slavic timbre and was expressive in her solos and James Rutherford was suitably robust in his inebriate scene with the mens chorus a number that was especially effective. There were, in fact, three sections omitted and a substantial cut to one other. But even with the ardent sounds of Russia is being united ringing in our ears at the close, one couldnt help pondering Shostakovichs reservations and wondering whether Prokofievs anniversary might have been more appropriately marked.
- Radio 3 re-broadcast on Monday 21 July at 2 p.m.
- BBC Proms