This was a fascinating concert that was perhaps a trifle uneven in the first half but the second half was astonishing and the audience gave a thunderous standing ovation which led to THREE encores.
The Brandenburg Orchestra’s special guest artist Dmitry Sinkovskywas a star student of the iconic Moscow Conservatory (where Tchaikovsky and Shostakovich once taught and Rachmaninoff studied). He was groomed for an international career on modern violin but changed focus in 2005 and pursued specialised early music training in Moscow, Montreal and Holland.
Now he is a highly regarded laureate in many European violin competitions (including first, audience and critic’s prizes in the coveted Music Antiqua Competition in Bruges). He is in great demand internationally both as violinist and as a counter tenor.
Sinkovsky is an very charismatic figure. Dressed in black he had his hair long and channelled his inner Paganini (or some other Romantic performer/composer perhaps) playing intently, cradling his violin intimately and swaying with the music. When singing he was proud, passionate and fiery. He played a rare and precious Francesco Ruggeri violin made in Cremona in 1675.
The concert began with Aubert’s bright, flowing Ciaconna from his Concerto for four violins in D Major Op. 26, No. 3 featuring energetic swirling strings. Dyer, as always, conducted enthusiastically from the keyboard. The Orchestra throughout breathed and played as one with glorious ensemble playing.
Then came Telemann’s fiendishly difficult Concerto for Violin in B-flat Major TWV 51:B1 “per il Sig Pisendel” featuring the extraordinary Sinkovsky The first movement was pulsating with powerful undercurrents , the second had a most emphatic beginning and circular rhythms which Sinkovsky took and embroidered. The third movement, by contrast , was far more lyrical and softer, with Sinkovsky tender yet dazzling in his playing. The fourth movement saw Sinkovsky in a blisteringly fast mini solo, the melody stated and passed around the Orchestra, Sinkovsky embellishing again in commanding Il Divo mode on his violin.
Vivaldi’s Concerto for two Horns in F Major, RV 538 was next, rich and vibrant at a galloping pace featuring Darryl Poulsen and Doree Dixonon Baroque horn. This was a rich and vibrant performance. In the first movement the horns stated the melody and led the Orchestra and the third movement was a fast showy duet for horns and orchestra, both movements animated allegros and with featured use of ritornellos. The middle, second movement however was a lyrical, eloquent passage for the cello and double basses.
Leclair’s Concerto for Violin in D Major, Op.7 No.2, full of elegant playing, featured a soft, hushed opening, Sinkovsky eventually leading shimmering violins. In the first movement Sinkovsky had a darting very fast mini solo whilst the second movement was fluid with pulsating undercurrents, Sinkovsky was dazzling in his warm, rich bravura solo comprising full of leaps and difficult arpeggios. The final movement saw Sinkovsky very intense, yet lyrical with his glittering playing leading to an exuberant conclusion.
After interval the Locatelli Concerto Grosso in E-flat Major, Op. 6, No. 7 “Il Pianto D’Arianna”, in some ways an instrumental opera, based on the Greek legend of Cretan princess Araidne, was off to a slow, poignant beginning which then turned suddenly blisteringly fast.
The Orchestra was brisk and emphatic, rather stately and eloquent in a thoughtful discussion with Sinkovsky, who charmed us with his warm, lustrously textured playing, In the second movement, the orchestra played p its lament and there was a sudden change to brisk scurrying while the third movement featured Sinkovsky’s shimmering playing.
Then came Locatelli’s Introduttioni Teattrali in D Major Op 4/5 with its cascading, rolling strings and bright, swirling circular rhythms. Paul Dyer enthusiastically led on harpsichord.
The last work, officially, on the program was Vivaldi’s complex Concerto for Violin in E Minor, RV 277 “Il Favorito” with emphatic, dynamic strings and Sinkovsky’s extraordinary dazzling, soaring playing full of delicacy and simplicity. The second movement began slowly and softly, developing a floating, dreamlike atmosphere and Sinkovsky’s playing was poignant and extremely eloquent. The third final movement saw a forceful start by the Orchestra and Sinkovsky had a very fast showy solo, swooping and soaring on his violin, as part of a dynamic dialogue with the Orchestra.
After thunderous , prolonged applause the first encore was Locatelli’s Capriccio from his Concerto in D Major (Op. 3, No. 1) with Sinkovsky blistering on his skittering violin.
in a delightful , surprising move, the second encore was Handel’s Dove sei from Rodelinda (HWV 19) with Sinkovsky leaving the violin behind, and performing as counter tenor. This piece was fluid and passionately dramatic.
The final encore was Handel ‘s Va tacito e nascosto from his Giulio Cesare in Egitto (HWV 17) – the Hunting Aria – where Sinkovsky was explosively powerful and there was a teasing, dynamic ‘anything you can do I can do better’ duet with Darryl Poulsen on horn. The concert ended with tumultuous applause and a standing ovation.
Running time just under 2 hours and 30 minutes including one interval.
DMITRY SINKOVSKY: THE SINGING VIOLIN is playing the City Recital Hall until Friday 4th August. The concert then moves to Melbourne and Brisbane
PROGRAM Aubert Ciaconna from Concerto for four violins in D Major Op. 26, No. 3 Telemann Concerto for Violin in B-flat Major TWV 51:B1 “per il Sig Pisendel” Vivaldi Concerto for two Horns in F Major, RV 538 Leclair Concerto for Violin in D Major, Op.7 No.2 Interval Locatelli Concerto Grosso in E-flat Major, Op. 6, No. 7 “Il Pianto D’Arianna” Locatelli Introduttioni Teattrali in D Major Op 4/5 Vivaldi Concerto for Violin in E Minor, RV 277 “Il Favorito” Plus encores.