A rhapsodic evening with Andrea Lam and the MSO

Melbourne Symphony Orchestra | Rachmaninov’s Rhapsody 

November 30, 2023, Hamer Hall, Melbourne

While Bacewicz is still an unfamiliar name to many, recent years have seen this forgotten Polish composer experience a well-deserved resurgence. Conducted by Jaime Martín, the MSO performed her Overture on Thursday night. Not only was it an energising concert opener, but a pertinent introduction to a program of two great and disparate Russians: Rachmaninov and Shostakovich. 

Bacewicz endured the imposition of the Soviet regime in Poland, achieving – against odds – resounding popularity and success with her genre-defying style. Her Overture demonstrates some of her signature compositional effects: in the immediate it is dense and frenetic, but zoom out and you see a greater structure of utmost discipline and clarity. Jaime Martín’s energy was reflected by the entire orchestra in their performance of this bustling work.

Shostakovich’s Symphony No. 10 (composed in 1953 following the death of Stalin) is popularly interpreted as an expression of life during the Stalinist years. The MSO took a wonderfully dark, writhing journey, which emerged victorious in the final movement as Shostakovich’s own signature – D S C H (German note names) – was blasted out in resounding defiance. Some standout moments across the performance were owed to particularly fine playing from the woodwind section; each solo was delivered with chilling austerity and conviction. 

Nestled in between the weighty relics of Soviet Russia was the concert’s namesake work, Rachmaninov’s Rhapsody on a theme by Paganini. Pianist Andrea Lam led a rapturous escape into light with her scintillating touch and imaginative interpretation.

Rachmaninov and Paganini were dismissed in their day by critics, the former for being cheaply sentimental and the latter for displaying sheer technique without soul. It is not surprising, then, that these variations play into both worlds – and bring out the best of each. Lam conveyed this balance between pyrotechnics and expression seamlessly with her blend of virtuosity and sensitivity. She sparkled in the quick variations and indulged in the dreamier moments. Her melodic lines were clear and fluid and her legato melted in the glorious Variation XVIII.

As an encore, Lam played Chopin’s Nocturne in C Sharp Minor. A gentle offering after the feat of Rachmaninov, but Chopin’s intimate melodies and Lam’s confiding tone drew the audience in.