Review: Konstantin plays Beethoven, Adelaide Symphony Orchestra

Guest pianist Konstantin Shamray gave Beethoven’s “Emperor” concerto some distinctive but entirely plausible twists at times during this concert with the Adelaide Symphony Orchestra.

Pianist Konstantin Shamray, centre, with Adelaide, Symphony Orchestra violinist Janet Anderson, left, and French horn player, Emma Gregan. Janet and Emma dressed by GretaKate, make-up by M&CO Style Bar. Picture: Claudio Raschella

There’s nothing like starting with a fanfare to convey a sense of occasion.

Most fanfares have very little to recommend them as music, but with his fanfare to La Péri, Paul Dukas provide one with substance but without pomposity or militaristic bombast.

It put the excellent brass section of the Adelaide Symphony in spotlight to good effect.

The strings had their moment – an extended moment – in Elgar’s lovely Serenade for Strings, with Nicholas Braithwaite conducting a beautifully shaped performance.

The strings of the ASO did indeed sound quite lovely, producing a silky tone that caressed the ear, especially in the quietest moments.

Benjamin Britten’s Four Sea Interludes from the opera Peter Grimes were more of a challenge, fraying around the edges at times, but suitably bleak, like an icy wind blowing in from the North Sea bringing with it neurotic anxiety and despair.

Pianist Konstantin Shamray. (Photo AAP/Megan Slade)

The main event of the evening though was Beethoven’s Piano Concerto No. 5, the “Emperor” – a chance for the orchestra to pay more homage to Beethoven in his 250th year, after so many plans had to be cancelled.

The soloist was Konstantin Shamray, a local favourite – deservedly so – and a splendid pianist who is always interesting to listen to.

With a work as well-known as the Emperor, and with so many great recordings of it from Gilels to Serkin and many more, the challenge is to find something new in it.

Shamray dealt with the virtuosic flourishes energetically enough, but in a sense those are the easy bits.

It’s often the passages that appear to be mere fillers that call for special attention, and Shamray, always very thoughtful in his approach to music, did give the music some distinctive but entirely plausible twists at times.

He is also an intensely expressive pianist, handling the sublime slow movement with the most tender care, before launching into an exuberant account of the finale.

Adelaide Symphony Orchestra

Conducted by Nicholas Braithwaite,

Konstantin Shamray, piano

Festival Theatre, October 15-16