Saturday 1 April 2000 Victoria Concert Hall	VIRTUOSO VIOLINISTS SERIES
	Jean SIBELIUS (1865-1957) Violin Concerto in D minor, op.47 Sergei PROKOFIEV (1891-1953) Symphony No.5 in B-flat major, op.100 Vadim REPIN violin SHUI Lan conductor

OVERALL NOISE RATING: 3 (Kids talking at the beginning of the concerto; coughing and more coughing. )

The Noise Rating Index is a partially-objective measurement of pager and handphone blasts, 9pm and 10pm watch beeps, coughing-during-the-pianissimo-bits, intra-audience conversation and other mind-bogglingly inept noises emitted in the concert hall during actual performance of music. It is measured on a scale of 0 to 5, in increasing annoyance.

Jason Tan reports on the Saturday Concerto performance: There's no doubt that many, if not all, came for the concert to hear the "greatest living violinist", Vadim Repin. I'm not fully certain of the validity of that title, but Repin certainly didn't disappoint my high expectations. Together with his absolutely fantastic Ruby Strad, Repin weaved a realm of Finnish mystical fantasy, full of vitality and sonority. The wonderful timbre of the violin is full of rich glorious brightness, but never thin, metallic or superficial. Repin's vivid personalized account of this popular work was not only an exhilarating ride, but also had a beautiful conviction that left me enraptured. He has shown remarkable versatility and mastery of his instrument, transcending pure virtuostic perfection to play this concerto most convincingly. What impressed me the most was that inner calmness that manifested even when he attacked the most difficult of passages with pin-point accuracy. Repin's subtle entry had a hint of detachness combined with a quiet confidence. While it didn't have the coldness of tone to evoke the harsh and austere homeland of the composer, Repin played with such authority and intensity that it was difficult to fault him on anything. Repin didn't merely breeze through the running passages, but shaped his phrases with a sense of purpose that the entire work made complete sense. However, the SSO's accompaniment sounded a bit lethargic and way too lighthearted and bright. I would have much preferred a certain heaviness and a darker tone for the orchestra. Then there was a mistimed entry by the orchestra which was very obvious. The second movement was the highlight of the concert for me. I could have swore I heard one of the legendary Oistrakh's recording right there in the concert hall, no doubt a leaner version but nevertheless as beautiful and sonorous as it can get. Here the SSO's lush strings emerged and together with the gave a most well-balanced and emotionally heart-wrenching Adagio. Here is a hallmark of performance greatness, the ability to make the orchestra respond spontaneously to your music and somehow inspire them to give off their best. In the third movement Repin blazed through with much fervour, technical assuredness and impeccable intonation. The SSO fervently following the blistering pace of Repin. However I felt that the brass section seemed to be in a different orchestra - they didn't quite fit in with the rest and it was pretty distracting. I admired their zealous blasts for their enthusiasm and spirit, but their tone colour left much to be desired. I didn't quite agree with Shui Lan's interpretation, much too gentle and subdued for my liking. I would have much preferred a brasher, heavier sound and with more variety of colours. One example would be when the theme modulated to a major key, I felt that the change of mood could be better represented. The flutes let me down here as well. The only minor flaw with the soloist was that the harmonics weren't as clean as they ought to be. Other than that, it was an unforgettable experience for me.

By The Inkpot Sibelius Nutcase
For this reviewer, Vadim Repin is a violinist whose reputation has preceded my actually hearing him. I have encountered many rave reviews of his playing (including from one excited Inkpotter who called me at 6.30am from Amsterdam after hearing Repin play; and another published at the Inkpot: Tutta Bravura!).

Vadim Repin plays with a very "solid" feeling, emphasised no doubt by the full and even tone of his 1708 Strad. This style is sustained from beginning to end, and even in his double-stops, Repin draws a deliberate and firm sound from his instrument. He plays with meticulous discipline, sounding almost too stern at times. What Repin produces in the Sibelius Concerto is a sense of breath, not so much the drive or defiance that characterises this D minor work.

Let me first state that by all reckoning, it seems Repin took a different, much more passionate interpretation of the concerto than on Saturday, when he used a rather more formal style.

His Russian/Siberian background is reflected in his playing - there is this almost cool solidity which affected the whole concerto. It is almost as if the player and the composer had touched upon some northern snow-covered landscape in the music. We were treated to a display of not so much the Romantic character of the concerto, but its cohesive structure. The main detraction is that for some listeners, I think Repin's interpretation would have sounded rather drowsy; for me, it lacked a sense of risk.

The SSO meanwhile sounded soft in texture and volume. Considering the huge orchestra fielded, this was a little unexpected. Although the misty, dusky colours were very beautiful, the orchestra lacked punch where required - the only time it bellowed in anything resembling loudness was during the tutti of the finale, but even then the brass was mainly content to lie low. But don't get me wrong, I found the playing very impressive for its attentiveness and detail. Some of the wind pedals for example, were delivered with praiseworthy beauty in the first and second movements; and the brass chords in the finale were very beautiful.

In addition, the even style that the SSO and Shui Lan adopted matched Repin's well - though I later learnt that even during rehearsal, Repin also commented that theorchestra was too soft. The score of the accompaniment, in any case, is by nature backgrounded.

Repin's full-breathed style was more suited to the Adagio - in terms of "mood", it did however sound very much like the first movement. In this sense, there is both a sense of unity but also little contrast. I would have preferred it if the violinist played with more elasticity of phrasing, but at the same time I cannot deny that his brand of defiant solidity is impressive. Throughout the music, Repin was the totally composed man, light in mannerism but grand in execution. Perhaps it is this "controlled lightness" mixed with strength that makes him the virtuoso. The final diminuendo was gorgeous.

We suspected that the fires were being left for the finale. The opening triplet-peppered passage was very interesting. With his full-note-value, long-stroke playing, Repin threatened to collapse the pace of the rushing orchestra. What is admirable is that, as the soloist, Repin has the right to dictate the tempo - and he did regardless of the orchestra's urge to speed. Just as they synchronised pace, Repin sped up! The rest was full of merit, but not exactly jaw-droppingly distinguished. The stormy ending, with its rising and falling minor scales, was well-played, but lacked that final ounce of excitement.

At this point, I thought my high expectations had ruined my enjoyment of the performance. But... as it turned out, the concerto was more of an appetizer. For his encore on both nights, Repin performed his own improvisations on The Carnival of Venice theme, accompanied by string orchestra pizzicato, as taught by the violinist. I have it from a reliable source in the 2nd Violins that on both nights, Repin's variations were different(!). Here was the virtuoso in open fireworks at last! Whistling glissandi, ricochets, alternating pizzicatos and what-have-you - Repin both bowled over and amused the orchestra with his triumphant encore.

By Jason Tan
The second half of the concert was highly enjoyable. I noticed that there were some who left after the interval, perhaps intimidated by the Prokofiev symphony - too bad for them.

The SSO and our beloved conductor were in fine form, the famous work was well-rehearsed. The symphony itself is indeed a work of genius and surprisingly accessible and listenable. For once, each and every conducting gesture of Shui Lan made sense to me. I may be no Prokofiev expert, but I felt the ironic aspects of his music was successfully brought out. The heroic spirit infused the entire orchestra, notably in the final movement, and the masterful orchestration of the work was cleanly expounded.

Special mention must be made to the conclusion of the Allegro marcato, which I felt was simply perfect. I have always maintained that the piece only ends after the few seconds after the last note is played. The only misgiving I have about this wonderful performance was that the Adagio didn't seem to take off as it should into a "powerful statement inbued with emotion and tragedy".

All in all, the concert was thoroughly enjoyable and also an enriching educational experience for me. I look forward to more great music to come this season.

The Inkpot Sibelius Nutcase wonders if Jason Tan knows who he is...

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689: 9.4.2000 ŠISN, Jason Tan

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