Benedetti and pianist Petr Limonov are quiet and pensive, her violin silky-toned, the sound scaled back but just as electric. While not as brisk as Zehetmair in the outer movements, Benedetti paces the concerto to bring a worthy, sometimes contrasting take that sits comfortably alongside these great Elgarian interpreters.Completing the album is a selection of Elgar miniatures — “Sospiri”, “Salut d’amour” and “Chanson de nuit”, in which Benedetti is accompanied by pianist Petr Limonov. Sospiri is beautifully done, Benedetti’s tone silky and contained yet electric; it’s an initially bleak picture of despair that lifts just slightly into something hopeful at the end.
This is where I found Benedetti the most idiosyncratic, and in a good way. But Nicola Benedetti is undaunted and brings her own engaging personality, as well as a formidable technique, to bear in a compelling account. After the turbulent crests of emotion in the concerto, these intimate and delicate pieces are completely endearing and provide a fitting end to the album.Get our periodic classical music newsletter with our recent reviews, news and beginners guides.The Classic Review is an independent website, that is self governed and pays for its services such as hosting, writing, editing and audio. She attended the Yehudi Menuhin School, where she studied with Natasha Boyarskaya. The woodwind of the London Philharmonic are not particularly prominent, and the quicker tempo doesn’t allow them to execute Elgar’s markings fully. All rights reserved. The extended opening orchestral exposition of the first movement has echoes of Elgar’s own recording with Menuhin. Marked “Andante”, Benedetti comes in at almost one and a half-minutes under Menuhin and almost two minutes under Nigel Kennedy, who is one of the broadest.Benedetti is more straightforward, with a strident feel that brings a range of different colors and emotions. For herself, Benedetti shaped a …
Tasmin Little and Sir Andrew Davis ride the waves of emotions with some of the biggest peaks, while Thomas Zehetmair is completely commanding with Sir Mark Elder. Review – Nicola Benedetti Plays Wynton Marsalis Jonah Pearl - August 27, 2019 Programmatic symphonic music has always been a tough sell.
Nicola Benedetti has waited before tackling Elgar’s Violin Concerto, but has now played it a few times in 2019. Benedetti brims with confidence throughout the final movement, in a self-assured and highly virtuosic reading. Her vibrato is beautiful and used delicately, whilst Kennedy’s tone is much richer, almost indiscernible. VIRTUOSO violinist Nicola Benedetti has revealed how she never stopped loving her cellist former boyfriend and still speaks to him every day. It covers new album reviews, as well as in-depth guides and classical music news.All of The Classic Review’s covered albums are available for purchase on our Amazon store:Get our periodic classical music newsletter with our recent reviews, news and beginners guides.All rights reserved.
Benedetti and Jurowski bring something more emotionally restrained, and the conductor and the orchestra except more heartedly the accompanists role, letting Benedetti shine. Nicola Benedetti: Elgar Violin Concerto review – full-throttle, sinuous, subtle and electric 4 / 5 stars 4 out of 5 stars.
By donating you are helping to insure it remains independent.The Classic Review was launched in 2018 for classical music lovers around the globe. It covers new album reviews by knowledgeable and independent writers, as well as in-depth guides and news.Get our periodic classical music newsletter with our recent reviews, news and beginners guides. Benedetti/London Philharmonic Orchestra/ Jurowski/Limonov Salut d’Amour sounds fresh, and is played with an understated sigh that draws the ear in. The brass, while possessing a pleasant sound, don’t quite elevate sufficiently out of the rich string textures in the climactic moments.Benedetti brims with confidence throughout the final movement, in a self-assured and highly virtuosic reading. Technically, the passages of running semi-quavers are executed with precision, showcasing the evenness and warmth of tone Benedetti can generate across the entire range of the instrument. Unsurprisingly from such a tireless campaigner and educator, that’s not quite all: Benedetti has filmed Another Beethoven recording that urgently demands shelf (or disc) space. She is not afraid of taking risks, with a brisk tempo that molds the concerto and makes it something very much her own. Benedetti is impressively agile at changing her tone, from the heady vibrato-laden legato cantabile to the silvery chains of sound in the passagework, which sounds effortless, natural and spontaneous.
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