Concert reviews – RAVEL Piano Concerto in G Major

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Bachtrack

David Renke, 21 February 2019

Playful sound worlds with Alice Sara Ott and the Gothenburg Symphony in Munich
“Ott developed the concerto with smooth lightness and a seductive sense of flow. In her sound, the score swung between the big city and the excess of the 1920s. Ott has an unerring instinct for a soft attack and the resulting soft colours in the tonal palette. She was completely natural in the way she played with the dynamics, first bringing herself outside the orchestral sound and then melding into it. She spun out the long breathed phrases of the Adagio, and interpreted the introductory solo passage with the strength of a storyteller and self-absorbed intensity in the ensuing Ballade.

Just as drastic was the contrast with Presto, which advanced with its short but expressive fireworks. With a light and transparent sound, the Gothenburg Symphony created an impressive accompaniment, as well as making their own contribution with colourful accents of harp and jazzy brass. Ott’s encore, Chopin’s Nocturne in E flat major, was undiluted Romanticism.”

photo: Instagram @alicesaraott_official



RAVEL Piano Concerto in G Major
Gothenburg Symphony
Santtu-Matias Rouvali, conductor
Alice Sara Ott, piano

20 February 2019 — Philharmonie im Gasteig, Munich, as part of the GSO European tour

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