Astonished. That is the word that comes to mind when watching pianist Alexei Volodin work his magic. I could go on and on about the Vancouver Symphony Orchestra—they never fail to leave me breathless—but Volodin added a level of majesty that elevated the performance from breathtaking to exquisite. The Russian pianist joined the VSO for a series of concerts (heard Feb. 22) that included Rachmaninoff’s Piano Concerto No. 2.
Volodin is described as “acclaimed for his highly sensitive touch and technical brilliance”. His repertoire is almost as extensive as his resume, having performed with countless orchestras internationally, from the Hiroshima Symphony Orchestra to the St Petersburg Philharmonic, playing alongside renowned conductors Semyon Bychkov, Stanislav Kochanovsky, and Robert Trevino.
The evening opened with Peteris Vasks’ “Musica Serena”, which was beautifully performed. The work lived up to its name, with a grounding, almost meditative quality that only a string orchestra can execute. The piano sat untouched at the centre of the stage, yet the orchestra sounded complete. It wasn’t until Volodin took the stage that it became clear what had been absent – a voice only the piano could provide.
Volodin commanded the orchestra arguably just as much as its leader Daniel Raiskin, whose expressive method of conducting added a theatrical flair to the evening. Although the opening movement of Rachmanioff’s concerto (“Moderato”) starts with the piano in more of an accompanying role, its arpeggios adding a level of depth to the piece. I couldn’t tear my eyes off of Volodin’s hands from the moment he played the first note.
You could almost feel each and every person holding their breath as Volodin’s hands flew—no, floated—across the keys. No matter how intense or demanding the piece became, he played it gracefully, his technique so fluid that it seemed effortless. He masterfully balanced emotion and technique, blending the two seamlessly to create something unforgettable.
By the time Volodin had finished the concerto, he had the crowd on their feet, hungry for more. The cheers went on for so long that he returned to the stage for an encore, silencing the crowd immediately, the theatre filled only with the piano’s resonance.
I was impressed by the orchestra’s ability to keep the crowd pleased for the second half of the evening, after the piano had been wheeled off stage. Nielsen’s Symphony No. 2: The Four Temperaments, was masterfully played, with the orchestra embodying each temperament with every stroke, chord, and nuance, bringing the music to life with precision and passion. I truly felt the variation between the temperaments, each with their distinct timbre. The performance evoked a whirlwind of emotions, with the overarching themes of sanguine, choleric, melancholic and phlegmatic temperaments reverberating off of the theatre walls.
While the first half of the performance was undoubtedly the highlight of the evening, I have no complaints about the VSO’s rendition of the Nielsen. It may have lacked the impact that Volodin could offer with his authority over the keys, but maintained the intricacies and technical excellence the VSO never fails to bring to the stage.
For more on the Vancouver Symphony Orchestra season, visit www.vancouversymphony.ca
