The hall itself is a good size:
I'm amazed I got a ticket (purchased online a couple of months ago) as every single seat was sold:
I mentioned that the Saint Petersburg Philharmonic only takes on a new musical director on rare occasions. From 1938 to 1988 they were directed by Yevgeny Mravinsky, famous for his sober and restrained conducting style. Regarding the orchestra, David Fanning remarked:
The Leningrad Philharmonic play like a wild stallion, only just held in check by the willpower of its master. Every smallest movement is placed with fierce pride; at any moment it may break into such a frenzied gallop that you hardly know whether to feel exhilarated or terrified.So, rather than furiously provoking them into playing as so many modern conductors do (*cough* Dudamel *cough*), Mravinsky had to hold them back. Their current conductor, Yuri Temirkanov, who took over from Mravinsky in 1988 and is still at the helm, has a bit of the same style. No baton, conducts with sober movements, occasionally looks as if he is about to dig a trench, and then a moment later is beckoning gently for more lyricism. The orchestra are really excellent. The opening overture by Glinka, from his opera Ruslan and Ludmilla, opened at a furious tempo and was impressive with its sheer orchestral virtuosity. They do not play with any feeling of antiseptic precision, but with gusto.
Next was the Violin Concerto No. 1 by Dmitri Shostakovich. The title of this post uses the Valencian spelling of Shostakovich, which I find extremely entertaining! It reminds me a bit of some Nahuatl place names in Mexico. The soloist was the young Spanish violinist Leticia Moreno who studied at that same Escuela Superior de la Música Reina Sofía in Madrid that I took a photo of the other day. She has recorded the Shostakovich concerto with the Saint Petersburg Philharmonic for Deutsche Grammophon. She played it very well, with precision, passion, delicacy, ferocity--all of which it demands.
Shostakovich was working on the Violin Concerto No. 1 at the time of his second condemnation in 1948 and the work was not able to be premiered until 1955, by David Oistrakh, the dedicatee. The structure is very unusual: the first movement is a nocturne that Oistrakh described as a "suppression of feelings"; the second movement, a scherzo, he described as "demonic"; this is followed by a passacaglia of profound feeling and the last movement is a devil-may-care burlesque. I don't think I have ever heard of a concerto with nocturne and burlesque movements. In any case, it is a remarkable piece of music, dark and complex, and it was very well played. Ms Moreno had to return and bow several times. She was playing an instrument by Nicolò Gagliano from 1762 and it seemed to me to be perhaps too smooth a sound. It was often like the smoothest velvet, but I think I would have liked a bit more crunch.
The second half of the concert was the Symphony No. 5 by Tchaikovsky and I don't have a lot to say. I'm not sure you can say that this orchestra actually owns this music, but they certainly have an extended lease. Wonderful stuff and I was very happy to have heard the concert.
Here is a YouTube clip of Ms Moreno playing the last two movements, Passacaglia and Burlesque, with the Saint Petersburg Philharmonic conducted by Yuri Temirkanov: