2 days ago
- Entertainment
- Time of India
Town bides its time for timeless classicsfrom Western canon
The high priests of sound are about to descend upon the city. As a counterpoint to the deafening outdoor celebrations of the festive season, they will summon the hushed attendance of the cognoscenti indoors.
On Tuesday, Aug 12, Andrew Litton, the music director of the New York City Ballet, will open the 35th season of the NCPA-based Symphony Orchestra of India (SOI) with Wagner's achingly hypnotic Prelude and Liebestod from Tristan und Isolde followed by the sweeping, emotional arc of Mahler's Fifth Symphony at the Jamshed Bhabha Theatre.
The following Sunday, Aug 17, Litton will return with the highly regarded Russian-Swiss pianist Konstantin Scherbakov in Tchaikovsky's Piano Concerto No.
1, known around the world for its sweeping opening melody (and, of course, for its thrilling, dramatic passages). The evening will begin, though, with Ravel's Bolero and close with Stravinsky's Firebird Suite. A couple of days later, Scherbakov will take the spotlight for a solo recital at the Experimental Theatre in a programme that will weave through Bach's Chaconne, Schubert's stormy C-minor Sonata, and a selection of Chopin's works, including the Ballade No.
3 and Andante spianato et Grande polonaise brillante (made famous by the critically-acclaimed 2002 film The Pianist).
British conductor Martyn Brabbins, a BBC Proms favourite who will take over as SOI's chief conductor in Jan, will join the season for the final two concerts: Rimsky-Korsakov's Scheherazade followed by Shostakovich's gripping Fifth Symphony on Aug 22; and Elgar's Cockaigne Overture, Tchaikovsky's Violin Concerto (with SOI's founding music director, Kazakh virtuoso Marat Bisengaliev, as the soloist) and a selection from Prokofiev's Romeo & Juliet on Aug 26.
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"It is scarcely believable that the 35th season of the SOI is here," says NCPA chairman Khushroo Suntook. "(This time) while we pay great respect to the masterpieces of classical music, there is a movement towards the introduction of comparatively modern repertoire… The audience (response) is encouraging and we must push on."
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