The Oslo Philharmonic under Mirga Gražinytė-Tyla, with violinist Patricia Kopatchinskaja, delivered a performance of Stravinsky's Violin Concerto that was both anarchic and charismatic at the Proms. This review explores the highlights of a concert that fused technical brilliance with expressive daring.
Patricia Kopatchinskaja's Full-Body Performance
Kopatchinskaja's approach to the violin is intensely physical, and Stravinsky's 1931 concerto proved an ideal vehicle. She attacked each movement with ferocious energy, her tone shifting from harsh to honeyed. The double-stopped chords were wildly far-flung, and her spiccato cascades were breathtaking.
The Oslo Philharmonic's Cool Counterpoint
The orchestra's neoclassical chugging was nonchalant, with wind and brass solos characterful yet detached. This coolness provided a perfect balance to Kopatchinskaja's fiery intensity, making Stravinsky's Bach echoes achingly stylish.
Mirga Gražinytė-Tyla's Commanding Presence
Conducting with a still, steelier demeanor than in previous appearances, Gražinytė-Tyla shaped the performance with precision. Her leadership allowed the soloist's anarchic delight to flourish within a controlled framework.
Key Takeaways from the Concert
- Kopatchinskaja's performance was a masterclass in expressive range, from ferocious to honeyed.
- The Oslo Philharmonic's diffidence created a sophisticated contrast.
- Gražinytė-Tyla's conducting was a study in controlled power.
Comparison of Performance Elements
| Aspect | Soloist | Orchestra |
|---|---|---|
| Tone | Ferocious, honeyed | Cool, detached |
| Style | Anarchic, full-body | Neoclassical, nonchalant |
| Impact | Weapons-grade charisma | Subtle character |
FAQ
What made Kopatchinskaja's performance unique?
How did the Oslo Philharmonic complement the soloist?
What was the conductor's role in this performance?
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