Concert reviews – RAVEL Piano Concerto in G Major

ASO Concert Reviews, News

Bachtrack

Mark Pullinger, 25 January 2019

“Ott’s contribution to the programme here was Ravel’s Piano Concerto in G major, bringing us to 1920s Paris heavily infused with jazz. Bounding onto the stage, she launched into the concerto’s glitter and glissando opening with the lightest of touches. In a concerto that can attract percussive playing, this was a deft, suave account, Ravel in a silk cravat, sashaying between smoky bassoons and jaunty piccolo. In the Adagio assai central movement, Ott sprinkled her cascading runs over Jill Crowther’s lyrical cor anglais solo like icing sugar sieved over a particularly delicious French dessert. After enjoying the humour of the swanky finale, Ott returned with Chopin’s E flat major Nocturne as an encore, dispatched with such flow and purpose that it almost turned into another waltz.”


Classical Source

Dave Truslove, January 2019

“It was brilliance of musicianship rather than excitement that characterised Ravel’s G-major Piano Concerto with Alice Sara Ott as a glittering soloist who sprinkled stardust over its toccata-like passages and jazzy rhythms. She can caress phrases too and her smallish tone is well-suited to a Concerto where heft is not a priority. A reduced Philharmonia provided playful and sultry support, a becalming harp bringing temporary relief from the circus atmosphere. The Adagio assai allowed Ott’s lingering phrases to register fully, tiny pauses drawing you deep into Mozartean purity, the whole gaining much from outstanding woodwind contributions of surpassing beauty not least Jill Crowther’s cor anglais. After too long a pause, Rouvali launched a sparkling Finale, its champagne-flowing manner with cackling clarinet (as if Mark van de Wiel was on day-release from the local lunatic asylum) nicely caught, fun to the fore.”



Philharmonia Orchestra
Santtu-Matias Rouvali , conductor
Alice Sara Ott, piano

24 January 2019 — Southbank Centre, London – Royal Festival Hall

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