PERTH FESTIVAL: Benedetti & SCO
Perth Concert Hall
One of the constant enjoyments in life is to listen to the Scottish Chamber Orchestra playing Mozart. It’s tradition for them that goes back to the James Conlon recordings of the early 1980s and continues today under the likes of current chief conductor Maxim Emelyanychev. There have been times, too, when this finely-tuned orchestra has simply self-driven itself through Mozart, as it did with the in-house guidance of leader Benjamin Marquise Gilmore in this closing online concert of the Perth Festival.
And this Mozart delicacy – the short, light-fingered, Italianate No 33 – was much more than a warm-up to the starry appearance of Nicola Benedetti in Mendelssohn’s Violin Concerto that was to follow. In its own right, it had poise, the graceful triple-time opening Allegro, the soothing Andante, the downward swooping Menuetto and the pert Finale, all enlivened by shapely poeticism and a neatly-textured ensemble. It wasn’t the most flawless performance in terms of absolute togetherness, but in spirit it was a confectionary delight.
Benedetti may only be in her early 30s, but she carries her own lengthy and busy tradition of playing the Mendelssohn concerto, which – she recounted in her introductory remarks – featured in the last set of SCO performances she undertook before last year’s lockdown.
So there was an obvious pertinence in returning to it here as the music world begins to reopen. A palpable optimism seemed to inform Benedetti’s performance, which bristled with intent from the word go. If this is a work that engenders impetuosity – there’s a fair argument for that – it was dealt here in spades, but with all the affectionate sincerity and heartfelt lyricism it deserves.
Was Benedetti’s response a little roughshod at times? To an extent, perhaps, in the heat of the opening movement, but there was consistency, wholehearted conviction in her playing, which in turn fed into the robust orchestral support. The melting tenderness of the Andante, opulent without labour or indulgence, was charming; the finale, joyous and liberated.
That should have been the upbeat conclusion to the 2021 Perth Festival, were it not for an unexpected encore: Sally Beamish’s natty arrangement for violin, viola and orchestra of Peter Maxwell Davies’ Farewell to Stromness. Benedetti was joined front stage by principal viola Nicholas Bootiman, in a version stage-managed like Haydn’s Farewell Symphony, the musicians disappearing one by one, leaving only the duo under the lone spotlight, Max’s wistful melody drifting softly into the distance.
Available on the Perth Festival website till 7 June.