Review: Michel Dalberto and Hong Kong Sinfonietta - power and panache
French pianist tackled contrasting works by Mozart and Richard Strauss with grace and steely brilliance, concertmaster shone conducting Haydn and orchestra hit a high standard throughout
This Le French May programme was one of the most successful Hong Kong Sinfonietta concerts in recent memory, with elegant Haydn, sparkling Mozart and powerful Richard Strauss.
Having a player from within an ensemble lead music from the pre-Romantic era is becoming more common, and concertmaster James Cuddeford led from his seat the orchestra’s performance of Haydn’s Symphony No 6 in D, Le Matin (“Morning”). He deserves a big bravo.
With only slight nods and upward bow gestures for guidance, the players sounded as disciplined and united as a string quartet. The tempos were right and the strings and winds were balanced. Varied textures animated the poetry of the music, such as the gentle dawn played by veiled strings and bright birdsong from the solo flute. Beginnings and endings were precise and crisp.
The ringing chord at the end of the first movement showed just how in tune and on time the players were. Haydn included some showy solos in this piece and they were expertly played by flute, oboe and cello. Cuddeford himself played his solos with radiant sound.
Mozart’s Piano Concerto No 14 in E flat was written for his gifted student, pianist Barbara Ployer. French pianist Michel Dalberto made sense of the quirky first movement, with a firm, crisp touch that carried easily over the orchestra.
The opening theme changes key and stops and starts in a stuttering way, but Dalberto kept the line going through Mozart’s darting changes of direction. In the slow movement, the music began to bloom as the piano had a richer, fuller texture, and Dalberto played the decorative notes with a graceful flourish.
