Soloists steal the limelight
York Symphony Orchestra;
Gulidhall, York.
YORK Symphony Orchestra has a commendable policy of encouraging young soloists
with local connections. Last night this policy paid excellent dividends in the
form of two outstanding solo performances
Malu Lin played Tchaikovsky’s Violin Concerto with such charm and gentle grace, sensitivity shaping the supple phrases, that I could have listened entranced all night. Only the second movement seemed a little lacking in depth of feeling.
The orchestra generally behaved as a good supporting ensemble, and if their phrasing was at times earthbound it mattered not; Malu Lin could walk on air.
Yet even this wonderful performance was eclipsed by what followed. Taking parts of Verdi’s Macbeth out of the theatre has dangers; Verdi’s greatness lies in his theatrical understanding, and out of context much of his music can seem full of sound and fury, signifying nothing (as Macbeth himself might claim). Indeed, without its visual aspect the ballet music failed, merely seeming unpleasantly loud.
Only the sung excerpts worked, and this was due to a stupendous performance by Sharon Nicholson-Skeggs. This is a voice of great power and beauty in all registers, lovely rich low notes and brilliance higher up without overusing vibrato. She also has considerable stage presence and understanding, and using only facial and vocal gesture convincingly created the necessary dramatic atmospheres. The programme notes said much about the music and nothing about the soloists, thus failing to give the information people actually wanted. Whence do such prodigious talents come?
Ralph Bateman