RSNO: Beethoven symphony no. 5

Rossini - William Tell Overture
Respighi - Adagio and Variations
Haydn - Cello Concerto No 1
Beethoven - Symphony no 5

Beethoven's fifth is certain to pack out any concert hall. Freed from the constraints of the bottom line, conductor Roberto Abbado—nephew of Claudio—indulged himself in the selection of two of the more obscure features of the cello repertoire – an inspired choice that provided the perfect counterbalance to the familiarity of the Beethoven.

Rossini’s William Tell Overture opens under an atmospheric haze and builds throughout to release its iconic theme. The strings display a richness of texture and the brass possess the control to produce the perfect dynamic, especially during their fanfare phrases, which resonate over the other textures to envelope the room.

Ottorino Respighi’s Adagio and Variations must surely be one of the most underestimated works of the twentieth century. It has lyrical passion in abundance, and cellist Mario Brunello plays the piece’s graceful melodies with flowing confidence. His ability to portray this lyricism is maintained throughout the contrasting fast-paced passages. The use of a soloists’ platform, however, while helping to project his virtuosic qualities, does somewhat detract attention from the orchestra. Otherwise, the balance between orchestra and soloist is well maintained and rich harmonies are never allowed to become muddied under the brilliance of the solo passages.

Haydn’s first cello concerto also proves itself to be somewhat of a hidden gem. A smaller accompanying ensemble gives the work intimacy whilst maintaining the previous richness of sound. Here Brunello presents a contrasting persona in the confidence and ease with which he states the opening theme. His abilities with lyrical passages still draw us in, as do his subtle implied harmonies. The cadenza also deserves an honourable mention, with its carefully conceived and delicately portrayed statements.

It is in the Beethoven that Abbado really emerges to dominate the orchestra with a passionate interpretation. Changes of mood and dynamic are dramatic in their execution and flare is particularly shown in the handling of the strings’ almost pastoral phrases, contrasting with the ominous opening. The wind instruments are remarkably well balanced and the brass section shine with their precision of intonation and dynamic.

Credit must go to the RSNO for bringing these powerful, underplayed works to audiences underneath the more well loved headliners of Beethoven and Rossini; we eagerly await more.