Lisa Batiashvili|ORPHEUS @ Carnegie Hall

Above: violinist Lisa Batiashvili, rehearsing for this evening’s concert with ORPHEUS; photo by Matt Dine

~ Author: Oberon

Saturday March 24th, 2018 – My friend Dmitry and I are big fans of Lisa Batiashvili, so we were excited by this opportunity to hear her play the Prokofiev second concerto with ORPHEUS at Carnegie Hall. The program successfully blended works by Schubert and Prokofiev, and the comely violinist basked in a rock-star ovation after her dazzling performance.

In 1823, Franz Schubert composed incidental music for Helmina von Chézy’s play, Rosamunde. The play was a failure, but Schubert’s music has come down to us across nearly two centuries. ORPHEUS opened their concert tonight with the play’s Entr’acte No. 1, commencing with a big, resonant sound that gave the illusion of a full symphony orchestra. The music has an air of theatrical drama, and there’s some lovely writing for clarinet. 

Paul Chihara’s persuasive arrangement of Prokofiev’s Schubert Waltzes Suite, created specially for ORPHEUS, was highly enjoyable, and attractively played. Solo passages for oboe, flute, clarinet, and trumpet stood out. Mr. Chihara was present, and took a bow from the audience.

Above: ORPHEUS onstage at Carnegie Hall, a Matt Dine photo

The two existing movements of Franz Schubert’s Symphony No. 8 in B Minor, D. 759 (Unfinished) were given plush treatment by the ORPHEUS forces, and again the clarinet, oboe, and flute soloists seized on their opportunities to delight us with melodious gems. The ensemble sound overall was vividly textured, with notable sonic warmth from the cellos, and the frequent repeats of the familiar theme of the Allegro moderato were so cordially played. A cellphone interrupted the Andante – twice! – spoiling the atmosphere; and no sooner had that distraction faded, than some poor bloke had a terrible coughing fit. It took all my powers of concentration to endure.

After the interval, Ms. Batiashvili strolled onto the Carnegie Hall stage along with the ORPHEUS musicians – eschewing a star’s entrance – and proceeded to enthrall us with her commanding and emotionally vivid performance of the second Prokofiev violin concerto, Op. 63.

Above: Lisa Batasthvili playing the Prokofiev 2nd this evening; photo by Matt Dine.

From her opening solo passage, Ms. Batiashvili’s playing seemed wonderfully at home, both in the embracing acoustic of the venerable hall and in the decidedly à la Russe qualities of the music. Her luminous tone in the sustained melodic passages and the clarity and deftness of her coloratura flourishes were captivating. A spidery motif over plucked accompaniment was subtly delivered, and – after a lamenting theme from the cellos and a march-like intrusion – she produced lively swirls of notes over a descending orchestral figure. As the violinist returned to the sweet, poignant melody heard earlier, we were on a Batiashvili high when the mood was broken by a moaning baby somewhere in the upper tiers. At moments like this, I seriously think about giving up concert-going.

But Ms. Batiashvili drew us back into her world with her simply gorgeous playing in the Andante assai; the theme has a nostalgic glow and it sings over a plucked accompaniment. Sailing higher and higher, with spine-tingling glamour of tone, the violinist provided for us a transfusion of tranquility in a world going mad. The ensemble then take up the melodic passage as the violin plays pizzicati.

The final movement, Allegro, ben marcato, brings us elements of the wit that Prokofiev can so magically integrate into his music: yet another reason he’s one of my top favorite composers. The castanets here always make me smile. Throughout this dance-like movement, it was as much fun watching the pretty violinist as listening to her. As this concerto reaches its lively finish, I always wish it had been longer.

Ms. Batiashvili, looking lovely as ever in her wine-coloured gown, won an enraptured ovation from the crowd. She treated us to a delightful encore: the March from Prokofiev’s LOVE OR THREE ORANGES.

Above, mutual admiration: Lisa Batiashvili and the players of ORPHEUS. Photo by Matt Dine.

~ Oberon