Curiously, in the programme notes, Rossini's first name is printed as "Giochianni". Editing is no easy business, but no one deserves to have his name massacred.

Principal Guest Conductor Okko Kamu's experience in opera-conducting was evident throughout the overture. In the best tradition of Rossinian writing, the orchestra and conductor produced much lyric spirit and mounting comic tension, skittering in the composer's classic staccatos. Perhaps the performance could be a touch even more vibrant, but surely, no one could not enjoy the lively results. Similarly, the short Schubert symphony was tightly done, the orchestra articulate and well-prepared, straddling the Classical and early Romantic spirits of the work most enjoyably, notably in the joyous conclusion.

- Chia Han-Leon

Nikolai Demidenko is definitely no stranger to the Singapore audience, having performed here five times now. He has performed twice in the International Piano Festival (the 6th July 1999 recital is reviewed here) and twice as a guest soloist with the SSO. I for one cannot forget the big solo works that he has performed here, like the Hammerklavier Sonata by Beethoven and the Brahms F minor sonata; in recent times his concerto performances have included the Rach 3 and a very memorable performance of Beethoven's Piano Concerto No.2 two years ago - I especially remember the heart warming rendition of the slow movement.

Tonight he has opted to play Mozart's Piano Concerto No.24, a work seldom performed by most pianists and not the most famous among the Mozart concertos.While Demidenko is often known for his harsh tone and strength, this time around we managed to see the other side of him.

I felt that there was something amiss in the introduction - the orchestra had taken it a bit slower than expected and only got into it from bar 20 onwards, when Kamu checked the pace and directed things towards a steady momentum. I was particularly disappointed when Demidenko took the introduction a bit softer than adequate - I am sure the audience in the back rows would have found it inaudible. It seemed as if he played to the orchestra, and never at any time looked or engaged himself with the audience; with eyes fixated on Kamu and the keyboard, he displayed his flawless Russian technique - something in which he has never disappointed us with.

This is a powerfully emotional work with many parts where the pianist is given leeway to express fully the beauty of Mozart's composition, especially in the cadenza of the first movement. I have not heard before the particular cadenza Demidenko used, which was slightly more virtuosic than normal - this could well have been written by the pianist himself, in the tradition of Radu Lupu, Murray Perahia and Alfred Brendel.

Demidenko's beautiful colourful intonation and phrasing have got to be commended, especially as seen in the second movement. His varied articulation in the Larghetto was precise, especially in his marcato figures. The recapitulation in the movement was imbued with much thought, yet nothing was over-dramatized.

Demidenko's wide repertoire spans Chopin, Weber, Rachmaninov, Liszt, Prokofiev and more, but he has not done a recording of Mozart - if he does I think it would be very recommendable based on tonight's performance. One important distinction in his playing which I have always enjoyed is his clarity of intonation. I suppose as a well-known pedagogue, it is these characteristics that he would pay a special attention to. He has a great understanding of the music and his ability to discriminate among the hands makes him a joy to listen.

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