The crescendo to the final of the 2018 Leeds International Piano Competition has been abuzz with activity, commentary and interviews, concerts and masterclasses, and has created a wonderful sense of a shared celebration of all things piano. Many of these activities are the initiative of the new Artistic Directors of the Leeds competition (Adam Gatehouse and Paul Lewis) in a bid to give the competition a wider reach beyond the confines of the concert hall, and even experiencing them at arm’s length, via social media and the broadcasts on MediciTV, I’ve sensed the excitement surrounding the revamped Leeds competition. The addition of a chamber music element to the competition is a very welcome one too, in my opinion, and I agree fully with Adam Gatehouse’s assertion that if one is able to play, connect and communicate with other musicians in a chamber music setting, one is also able to connect and communicate with an orchestra – as the finalists must do in their concerto performances.
MediciTV’s live stream of all the performances has brought an immediacy to those of us who didn’t make it to Leeds in person – the broadcasts are no longer consigned to a discreet evening slot on BBCFour – and also makes the competition feel truly international: anyone can tune in from around the world.
Performances by Aljoša Jurinić (Croatia, aged 29), Anna Geniushene (Russia, aged 27) and Mario Häring (Germany, aged 28) comprised the first evening’s finals concert, and here I offer my brief thoughts (from notes made while watching the live stream broadcast) on the three competitors:
Aljoša Jurinić – Mozart Piano Concerto in C minor, K491
It’s really cheering to see a Mozart concerto in a piano competition final. And this year there are, unusually, no concertos by Rachmaninov or Tchaikovsky. A shot of Aljoša Jurinić backstage, chatting to conductor Edward Gardner, showed a young man who looked incredibly chilled and relaxed ahead of one of the most significant performances of his career. This easefulness was translated into his playing which was natural and poised. The first movement had a lovely clarity of articulation and shading, with a good sense of synergy between soloist and orchestra. Jurinić seemed sensitive to the drama and muscularity of this opening movement, creating a sense of spontaneity and improvisation, particularly in the cadenza. The second movement was elegant and good-natured, but the finale felt a little too polite/safe for me. Given that this concerto was completed just before the premiere of The Marriage of Figaro, I felt more operatic drama was needed. But overall, this was a very mature, confident and engaging performance.
Anna Geniushene – Prokofiev Piano Concerto No.3 in C major, Op.26
This for me was a really fine performance – assured, confident, with soul and personality, and a wonderful sense of freedom. My husband, who was half watching in between following la Vuelta (tour of Spain cycling race on his laptop), remarked, without any prompting from me, that he playing was “singing and colourful”. I last heard this concerto performed by Martha Argerich at the Festival Hall in 2016, and I felt Anna brought some of the same excitement, colour and spontaneity to the work, as well as a clear sense of ownership. Her communication with conductor and orchestra was excellent, and the passages where the piano part seems to take flight into its own world were very convincing.
Noriko Ogawa deemed it “a dream concerto!” after the performance – and I agree with her: it was!
Mario Häring – Beethoven Piano Concerto No. 1 in C major, Op. 15
A warm, generous and joyous performance by Mario Häring, with excellent communication with conductor and orchestra. I felt the conductor in particular was really enjoying this work and the pleasure came through, with Mario responding equally in a performance that was lively, precise, colourful and engaging with great clarity and musical sense.
Tonight’s concert features performances by the other two finalists, Eric Lu and Xinyuan Wang.
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More on the Leeds on this blog: