Wednesday 15 April 2026

Sydney Opera House

Sydney Symphony Orchestra

Review by Paul Neeson (Arts Wednesday)

Photos provided by SSO.

Last night we were served a hearty 2 course meal of Russian fare – Shostakovich’s Violin Concerto No.1 and Tchaikovsky’s 5th Symphony. Maestro Donald Runnicles lead the Sydney Symphony Orchestra in impeccable style.

After a brief chat with the audience about the political turmoil that surrounded Shostakovich at the time of composing, which caused him to delay the release of his 1st Concerto for 8 years until after the death of his nemesis, Josef Stalin, Runnicles introduced our soloist, Greek born Lenonidas Kavakos to the stage.

The first movement opens with a plaintive melody supported by low strings. Kavakos extracted every ounce of the suffering being expressed by the music. Then the low winds added to the murky undercurrent with special mention going to the contrabassoon (Noriko Shimada) and bass clarinet (Alexander Morris). There were tiny glimmers of hope portrayed by the harp (Louisic Dulbecco) and celeste (Susanne Powell) that set up that exquisite final high note on the violin.

This concerto is considered one of the most difficult in the repertoire, partly because of the sustained emotional intensity of the 1st movement, but also the technical challenges of the subsequent scherzo and the extended cadenza of the 3rd movement. Kavakos proved that he had the goods throughout, but his connection with the orchestra drifted at times and the complex syncopations became muddied. Where they gelled best was when Shostakovich quoted some references to his beloved Russian folk rhythms. The extended cadenza that bridges the final two movements would have to be one of the most excruciatingly painful passages of music to listen to  (and I can only begin to imagine what it would be like for Kavakos to play). The rapid passages of notes fighting to be free are constantly interrupted by aggressive, grotesque chords constantly building in intensity until you think something has to break. To me, this is the composer being beaten down over and over again by the unsympathetic and unmusical political régime. It is always tempting to read a program into Shostakovich’s music which we are encouraged to resist, but when you know the history it is impossible to see it in any other light.

The final movement, Burlesque, provided all the fireworks and sparks you would hope for in such a virtuosic concerto, and Kavakos certainly delivered with extreme energy. The conclusion brought the crowd to its feet, and despite their pleading, Kavakos refused to play an encore. After such an intense 40 minutes of some of the most violent violin playing, the emotional exhaustion must be overwhelming. But also what could you possibly play to follow on from that?

Tchaikovsky’s 5th is to me the pinnacle of romantic orchestral writing, with its memorable melodies and the constantly inspired countermelodies. There is immediate recognition there, but I can never forgive some advertising executive for including that theme in a tobacco commercial. (If you’re of a certain age you’ll know the one). What can you say about this gorgeous symphony but sit back and let it wash over you. I felt that maybe a residual of the Shostakovich aggression had permeated across the interval and revealed itself in some of the more energetic string moments. But then nobody can gently resolve on to a feather cloud of cadences like Tchaikovsky. Donald Runnicles and the orchestra gave us a beautiful treat of contrasts and exquisite swoon-like resolutions, a night to be remembered.