Culture|Concert review
U.S. Yesong Sophie Lee dazzled with his virtuosity, Nathan Meltzer with his noble voice.
Classic
The third semi-final day of the International Jean Sibelius Violin Competition will take place on May 25 in the concert hall of the Sibelius Academy.
International From the last semi-final day of the Jean Sibelius Violin Competition, half of the players advanced to the finals, ie three: Yesong Sophie Lee, Nathan Meltzer and Georgii Moroz. The other three finalists, Diana Adamyan, Dmytro Udovichenko and Inmo Yang played on the first day of the semifinals, Monday.
Yesong Sophie Lee of the United States continued in the semi-finals with the virtuoso line she had already introduced in her capricious section. Franz Waxmanin Carmen fantasy spectacular virtuosity and a lightly skilful, airy playing sparked great applause from Lee at the end of the semifinals. Before that, Lee interpreted Sibelius Humorous toned and Magnus Lindbergin Capricen streamlined, at a good level. Beethoven In the 7th Sonata, the strong and lyrical themes were well balanced, and in the slow part Lee and the pianist Mariko Furukawa created a great, downright stagnant atmosphere.
Nathan Meltzer
Lee was followed by another American violinist, Nathan Meltzer, who made a strong and smooth interpretation. Capricesta. His playing has an American-style sweet romance. In Sibelius he had a fine and powerful sound, which was also counterbalanced by subtle lyrical tones. Richard Straussin in the sonata and Saint-Saensin / Ysaÿen Waltz on a whim a spectacular, sentimental interpretation with a toasty sound was heard.
Fumika Mohri
Japan Fumika Mohri played almost the same program as Nathan Meltzer, who had just played before him – only Ysaÿelta Mohri played a different work, the first sonata. He played it generously, with a powerful grip and a pressed sound. In Strauss’s sonata, his violin sounds passionate and the big ideal of sound was just right in this work as well. In humor a solid, warm sound and a powerful interpretation were heard. Caprice could have been clearer.
Georgii Moroz
Georgii Moroz, a Ukrainian, has a sophisticated, immediate tone in her playing that made Sibelius feel like living in an instant. Humorous. Capricen there was continuity in the interpretation, with the subjects following each other naturally despite all the sudden changes in mood. Béla Bartókin the sonata received a burningly intense interpretation from Moroz. Moroz’s playing has a straightforwardness that effectively conveys the atmosphere of Bartók’s harsh melody. At the end of the program, Moroz was played by a Ukrainian composer Viktor Kosenkon a singing, dark-toned mood picture Dreams.
Aoi Saito
Japanese Aoi Saito called Capricen throughout with a ravenous grip, without specifically seeking beauty values, which, however, abound in the work. On the other hand, the harsh going made the end of the work touch with optimistic themes. Sergei Prokofiev In the 1st sonata there are possibilities for extreme contrasts, and they are Saito and the pianist Matilda Kärkkäinen from explosive fast parts to the desertification of slow parts, which in the third part were already almost on the verge of hearing. Saint-Saënsin / Ysaÿen Waltz on a whim great sound and spectacular gestures were heard, as is part of the virtuoso song. Sadly, the purity of the tone was spent all the way up, except perhaps precisely in Prokofiev’s sonata.
Felicitas Schiffner
German Felicitas Schiffner impressed in the opening round, especially with his elegant interpretations of Bach and Ernst. Even in the semi-finals, his playing was ripe. César Franckin A sophisticated, sweet sound was heard in the sonata in A major, to which the thoughtful vibrato brought French cowardice. In Sibelius the sound opened up warmer, and so did Bartók In Rhapsody No. 1 the scale of expression expanded in the direction of the spirit of the game. Lindbergin Caprice received a basic good, though not a fully finished interpretation.
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