By Lee Hyo-won
Staff Reporter
The disappointment was palpable ― among fans, the press and presenters ― when Maestro Zubin Mehta cancelled, due to health reasons, his engagement to conduct the Vienna Philharmonic opposite soprano Sumi Jo in Seoul Tuesday.
However, Tugan Sokhiev quickly dispelled the air of anxiety that filled Seoul Arts Center's concert hall as he conjured masterworks to life with a fresh, whimsical edge. There was no question as to why Maestro Mehta chose the young Russian to fill in his shoes, not only for the Seoul performance but also for the Vienna Philharmonic's concerts this weekend in Austria.
Sokhiev is no stranger to such situations. In 2005, he replaced Lorin Maazel on short notice with the Sydney Symphony Orchestra to critical acclaim, and was immediately re-invited. His South Korean debut ― which also marks his debut with the Austrian ensemble ― did not go unnoticed either.
The evening opened with Haydn's Symphony No. 104 in D major "London." The conductor framed the symphony's lilting tunes with dynamism, wit and texture, bringing out inventive phrasings and nuances from hidden details. It was a fine treat for Haydn lovers who seek stylishness and a sense of joy brimming in between notes.
The orchestra was organized onstage so that the first and second violins faced and conversed with one another, a move that added more dimensionality to the piece. Even the mismatched timing between the strings and winds in the first and fourth movements were easy to ignore, as the orchestra proved why it is reputed as one of the world's best by playing with character and articulacy.
The group was then joined by Korea's favorite diva, Jo, who appeared in a fiery red number by her signature couturier Andre Kim, who was sitting in the first row with a bouquet of flowers.
Tugan, reputed for conducting operas, paid heed to enlivening the coloratura soprano. But their rhythm faltered on several occasions in "Mein Herr Marquis" from Strauss II's "Die Fledermaus," in which Jo was not quite convincing in delivering the adorable Adele's Laughing Song.
Jo, having departed for Korea directly after performing in Paris, was clearly not in her best condition. Her trademark highs, which usually spin out as effortlessly as a top, sometimes gave into shaky shrills that she managed to wind down to something less jarring. But she seemed to regain her strength for "Ah Forse lui… Sempre libera" from Verdi's "La Traviata."
The crowd responded with explosive applause, to which she responded with a warmly atmospheric and intimate rendition of Caccini's "Ave Maria." However, one could not help but to wish she would have stopped there, instead of proceeding with "Ah! Daehanminguk" (Oh! Korea), a loud brassy number that a seemed better fit for performing at a big outdoor sports event.
Jo, being the icon that she is here, inspired a festive occasion for Seoulites. Outside the concert hall, some 840 seats were set up for a live screening of the performance at the outdoor plaza. Those unable to secure seats crowded around the venue to watch the LED screen, and many were seen leaving as soon as Jo's performance for the evening came to an end.
After intermission came the much-anticipated Brahms Symphony No. 4 in E minor, Op. 98. After all of the members took the stage, the orchestra stumbled somewhat in articulating the first movement's grand architectural structure.
But beginning with the second movement, the musicians reestablished their poise and confidence and proceeded to play with character and expressivity. In the third and fourth movements in particular, Sokhiev never confused power with volume and created rich, airy, full-bodied sounds. He brought deep, autumnal colors though not without a hint of spring liveliness ― which was a breath of fresh air for a piece that is usually played with much weight and girth.
As the hall rumbled with a thunder of applause, the orchestra wrapped up the evening with two vivacious encores, Brahms'"Hungarian Dance" and Strauss II's "Tritsch-Tratsch Polka."