Edinburgh | The Scotsman ★ ★ ★ ★

Krylov, Zneider, RSNO, Usher Hall

May 2, 2017

“Sergej Krylov brought the house down.”

It was quite a coup for the RSNO to get starry international violin soloist Nikolaj Znaider to join them for a season concert ‘“ even if it was on the podium as conductor, rather than on his customary fiddle. In fairness, he’s been developing that second strand to his performing career for about a decade now, and he seemed in his element ‘“ perhaps not surprisingly ‘“ directing the evening’s centrepiece, Prokofiev’s Second Violin Concerto.

Znaider found just the right balance of sarcastic wit and grotesquerie for Prokofiev’s rather arch score, his orchestral textures sharply delineated with impeccable craftsmanship. The star of the Concerto, however, was Moscow-born soloist Sergej Krylov, who delivered it with such a sense of gruff, fiery truculence that he simply swept aside any doubts. He projected his line forcefully, and enunciated his phrases with chiselled clarity, even if it felt a bit like he was playing the whole thing through gritted teeth, even a rictus grin. Still, the breathtaking technique he showed in his encore of Paganini’s 24th Caprice – what else? – brought the house down with its staggering pyrotechnics.

Znaider brought the same impeccable craftsmanship to his Tchaikovsky Pathétique Symphony after the interval, and it was nothing if not a thoughtful, elegant account – even if it often fell frustratingly short on the raw emotional turmoil that the Symphony surely needs. Where was the trauma, and the tragedy? Znaider’s nonchalant reading at times sounded bizarrely like Haydn, and the RSNO players didn’t seem all that convinced either. His brief Scriabin Rêverie made a captivating if strangely low-key opener.



Glasgow | The Herald ★ ★ ★ ★

Krylov, Zneider, RSNO, Glasgow Royal Concert Hall

Rosie Davies, April 30, 2017

“A performance which didn’t stop for air”

THE AUDITORIUM was packed for one of the RSNO’s last concerts of its 16-17 season, a grand sweep of Russian works culminating in Tchaikovsky’s final symphony. Its almost crushing emotional intensity is matched by the tantalising backstory – premiered just a week before the composer’s mysterious death, it became enshrouded by all sorts of opportunistic hypotheses; was it a veiled suicide note? An intentional farewell symphony?

Whatever the truth, one of its biggest performance challenges is in not slipping from high Romance into cloying melodrama. The other, which applies to both the Tchaikovsky and Prokofiev’s second violin concerto which preceded it this evening, is delivering something that glues together, both shifting as they do between moods and textures, and sometimes in disparate chunks.

It was done very well in the Prokofiev, with Moscow-born violinist Sergej Krylov’s fiercely consistent solo line acting as a guiding thread between the three movements. Jumping straight in before the audience had even stopped clapping, Krylov set the pace for a performance which didn’t stop for air, playing with a subtle, just-off-centre rubato which highlighted the work’s frantic, unsettling undercurrent rather than its nods towards a Soviet-pleasing ‘new simplicity’.

Tchaikovsky’s symphony worked similarly well as a blasting and powerful whole, presented in broad brushstrokes, impressive for its hefty brass-sodden climaxes rather than its more delicate idiosyncrasies. There were moments where the approach felt a little too heavy, subtle nuances swallowed up by the overall feeling – but, with a work like this, you can’t help be swept away by that power. As for melodrama – as a high-profile violinist himself, guest conductor Nikolaj Znaider knows how to work strings, using them in muscular fleets which blasted away any accusations of over-sugaring.