Russian National Chamber Orchestra
Pinchas Zukerman, director / violin
Amanda Forsyth, cello

VIVALDI : "Autumn" from the Four Seasons, RV 293
VIVALDI : Concerto for Violin and Cello in B flat, RV 547
BACH : Violin Concerto in E, BWV 1042
MOZART : Symphony No 36 in C, K425 (Linz)


Vernon and I were asked to leave our bags at the entrance checkpoint. This is the first time I've ever been asked to leave my bag outside. Vernon attributes this to our coming relatively late and the ushers needing to look like they're doing work.

The concert was not very well attended. Even at our poor people section half the seats were filled at most (maybe this is why we don't get Baroque music in Singapore). Since this was Baroque music, they carted in a harpsichord, so I've finally seen one in Singapore.

Autumm did not start off well. It was ponderous most of the way, and though it picked up a bit after the start the orchestra still lacked life and levity. Zukerman was alright, though his playing was not as flavorful as I expected and his violin was somewhat squeaky (let's blame the humidity, but then presumably the rehearsal room is air-conditioned). The second movement was alright and the third had a very warm sound, embodying the cheer of the season. He seemed to play tutti (with the violins) suka suka (anyhow), often breaking off in mid bow to wipe or adjust something.

The violin and cello concerto started off with a brighter tone, which was good, and Zukerman's violin had become less squeaky. Unfortunately, throughout the concerto the soloists' communication and chemistry wasn't quite there. Among other things, they didn't look at each other.

[Addendum: The two are married. Hurr hurr.]

The violin concerto was probably the best of the pieces. It started off with everyone sounding confident, and the movement was warm, ripe and bursting with flavour. Vernon thought it was too straightforward, but even in a world of wines there is room for grape juice. The second movement was poignant. However, in the third everyone sounded overeager; Vernon thinks it was overcompensation for evenness towards the end of the second.

After the intermission we had Linz. Throughout the movement the French Horns had trouble, with both players turning their instruments upside down and fiddling with them repeatedly and thus it was no surprise that funny sounds ("ratty") kept coming from them (perhaps it was a valve problem). Other than that, I had no comments (this is usually a good thing). MFM would probably have found it banal, but then it's a nice type of banality.

The sound was not as intimate as I expected from a Chamber orchestra, but we were far away (and once again maybe you can blame the humidity).

Forsyth wore a simple sun dress, which was quite odd given the gowns they usually wear. Perhaps Saturday will have something else in store.