The Mid-day Live shows welcomed Belarus-born Olga
Stezhko for a 40-minute recital of French piano music from the primary third of
the 20th century. She’s made that her speciality, and her sense of
environment and delicacy in Debussy, Ravel and Poulenc are an asset to the music
in every case. She achieves most when she’s taking part in gently: each observe has its
weight and worth exactly expressed, there are telling gaps within the sound
tapestry as she weaves it, and even when she turns up the ability there is usually a
form of nostalgia in her taking part in – humour, too.
Her programme started with Guide 2 of Debussy’s
Photographs. ‘Cloches à travers les feuilles’ created a lightweight wash of tone,
with clear highlights however nonetheless a way of form and course; ‘Et la lune
descend sur le temple qui fut’ noticed a fuller sound emerge, however that, likewise,
vanished magically in a fade-away ending; and ‘Poissons d’or’ was dazzling and
refined on the identical time.
Poulenc’s Trois Pièces pour Piano
had been a serendipity: ‘Pastorale’ nearly just like the Debussy in its thriller
and esoteric harmonic results, whereas in ‘Hymne’ she evoked a finely managed sense
of the surprising. The ultimate ‘Toccata’, in contrast, was an invigorating – and nonetheless
managed – exercise.
She performed nos. 2, 4 and 5 of Ravel’s Miroirs
in a means that, for all its beauties, was bewitching. The birds of ‘Oiseaux
tristes’ had been positively unhappy, ‘Alborado del gracioso’ was springy, enjoyable and but with
a contact of longing, and ‘La vallée des cloches’ had a sequence of deep sighs in
It was a person, technically achieved
and critically felt response to music during which harmonic color and impressionistic
mood-painting depend greater than something.
Olga Stezhko c Chris Pasipanodya