Two orchestras, two very different approaches, two nights back-to-back.
That's what Tucson music fans had to look forward to this week as the Tucson Symphony Orchestra and the 3-year-old National Philharmonic of Russia played Rachmaninoff's Piano Concerto No. 2 in C minor within 24 hours of each other.
Each ensemble boasted a Van Cliburn International Piano Competition winner — first-prize winner Olga Kern with the Russian ensemble, sixth-place finisher Fabio Bidini with the TSO.
The music was the same, but the interpretations were vastly different.
The Russian ensemble had heritage on its side and a self-proclaimed romantic at heart in soloist Kern, who also hails from Rachmaninoff's homeland. At a filled-to-capacity Centennial Hall on Wednesday, she played with passion that went far beyond loyal inclinations toward a fellow Russian. Dressed in a lime green, spaghetti-strap gown, she reveled in the sensual side of the Rach 2, touching the keyboard of the baby grand set center stage with delicate, knowing strokes. Each keystroke seemed choreographed for romantic effect, flowing and expressive and contributing to her generous and supple dynamic.
At Tucson Music Hall on Thursday, Fabini, dressed impeccably in a black tux and tails, played with soulful passion that brought out Rachmaninoff's romance with lush restraint. His fingers glided effortlessly across the keyboard in harmony with the orchestra.
At times, Kern's showmanship threatened to outshine the music. She swayed on the piano bench, then plucked her right hand delicately from the keyboard while she played with her left. A few minutes later, the left hand got a rest with the same fluid motion. During that same passage, Fabini let his hand delicately and inconspicuously rest off the keyboard.
Kern played the piece with little if any communication from conductor Vladimir Spivakov. This could be why at times it sounded as if the Russian orchestra was playing over her.
Fabini and TSO conductor George Hanson established an immediate rapport, silently communicating with glances and nods throughout. The result was a more cohesive partnership that sounded months in the making, not the mere hours Fabini and the TSO practiced together.
The Rach 2 is a very demanding piece, testing the virtuosity of the player and the restraint of the orchestra. But it also challenges the soloist to convey its romanticism as well as its cynicism, with arching interludes of soft, almost aching, play and physically exerting spasms. This is perhaps where the two soloists differed the most.
Kern brings all that passion and emotion to bear in her playing, nailing every moan, whimper and shout of joy Rachmaninoff put out there.
Bidini's passion is more intuitive and from the soul. When the piece swells in pounding fits, he bounced on the piano bench and jerked his hands from the keyboards triumphantly, but not overstated.
Both soloists and orchestras earned their prolonged standing ovations. Kern took her bows, then left; Bidini bolted from the bench and embraced Hanson like a long-lost brother, to the cheers of the audience of 1,600.
Kern retreated to Centennial's lobby to sign autographs; Bidini played a moving encore, Chopin's Nocturne in C-sharp minor (posthumous).
Both concerts also featured works by Shostakovich — the Russian orchestra did Festive Overture; the TSO played Symphony No. 5 in D-minor.
Review
Olga Kern with the National Philharmonic of Russia, Vladimir Spivakov conducting, Wednesday at Centennial Hall.
Fabio Bidini with the Tucson Symphony Orchestra, George Hanson conducting, Thursday at Tucson Music Hall. Concert repeats at 2 p.m. Sunday at the Music Hall, 260 S. Church Ave. 882-8585
