Admittedly, the Royal Festival Hall was not the packed house that the BFO can command and there were moments of slight ensemble dislocation, which is unusual for them. Kicking off with the Overture on Hebrew Themes, the BFO’s clarinettist stood in front as unofficial soloist, delivering nonchalantly Klezmery phrasing, but the many tempo changes found the orchestra still settling in.
Ivan Fischer (Photo: Pete Woodhead for the Southbank Centre)
Levit and Fischer wisely balanced the music’s seething sense of tragedy with moments that can match the abstract flair of a Kandinsky painting or the grotesquerie of Picasso: a 360-degree interpretation that was cool, eloquent and supremely intelligent. Levit’s encore, “Der Dichter sprach” from Schumann’s Kinderszenen, was a pure, poetic antidote.
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Never mind. This Cinderella was clad in the gorgeous satin of the cello section, red with the heat of the violins’ sound in that waltz – delivered with real Viennese rhythm – and embroidered with golden threads of trumpet, the rich beading of the percussion, the haute-couture cut of the woodwind and the high-stepping tread of the double basses. By the gentle sigh of celesta at the end, we were sighing for joy too.
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