<\/p>\n
<\/p>\n
Cedric Tiberghien is a highly accomplished pianist. I recall with please his stunningly fine accounts of some of Messiaen\u2019s most complex works at a Perth Festival some years ago. His flawless fingers are up to any challenge \u2013 and this was again very much the case in Rachmaninov\u2019s Piano Concerto No 3. Only the most skilled of musicians would dare essay a work such as this in public. It\u2019s a closed book to any but top-end virtuosos. Throughout, in purely physical terms, Tiberghien could not be faulted \u2013 but on this occasion, the presentation as a whole was something of a disappointment: the raging demon that lurks behind the printed note was here only fitfully apparent. And another distraction was the late arrival (just as the slow movement commenced) of numbers of late-comers. Swarming in as they headed for seats, often mid-row, there was much standing-up and sitting down by patrons already seated. All this demolished the gentle atmosphere of the concerto\u2019s exquisite adagio. In the ferociously difficult finale, Tiberghien was at his thrilling, virtuosic best but again, taking up an interpretative position some distance from the emotional epicentre of the music. Throughout, Fisch took the WASO through an impeccable, finely supportive accompaniment.<\/p>\n
There was an encore: Bach\u2019s Prelude No 1 in C from Book 1 of Bach\u2019s famous \u201d48\u201d: it was a marvellous moment: a little miracle of gentle beauty.<\/p>\n
Bartok\u2019s music for orchestra can be, and often is, very challenging and tricky to bring off successfully. And that was certainly the case as Fisch took his players through the rhythmically complex Dance Suite to emerge from the maze with honour intact. Bassoon, trombone and tuba were much to the fore in the opening pages \u2013 and flutes were frankly delightful. And in the second movement, robust brass conjured up images of rough peasants energetically stamping away.\u00a0 Abrasive, jubilant, ear-grating and glowering were adjectives that came to mind as Fisch and the WASO steered a splendid way through the suite. Bravo!<\/p>\n","protected":false},"excerpt":{"rendered":"
Perth Concert Hall reviewed by Neville Cohn. Cedric Tiberghien is a highly accomplished pianist. I recall with please his stunningly fine accounts of some of Messiaen\u2019s most complex works at a Perth Festival some years ago. His flawless<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[3],"tags":[200,110,201,18,17,199,34,179],"class_list":["post-158","post","type-post","status-publish","format-standard","hentry","category-live-performance","tag-bachs-prelude-no-1","tag-bartok","tag-cedric-tiberghien","tag-chon","tag-cohn","tag-concert","tag-perth-concert-hall","tag-w-a-symphony-orchestra"],"aioseo_notices":[],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p9Yv33-2y","jetpack-related-posts":[{"id":110,"url":"https:\/\/ozartsreviewonline.com\/oz\/a-night-in-vienna\/","url_meta":{"origin":158,"position":0},"title":"A Night in Vienna","author":"reviewer","date":"July 4, 2018","format":false,"excerpt":"W.A.Symphony Orchestra Perth Concert Hall reviewed by Neville Cohn A Night in Vienna was made memorable by Asher Fisch\u2019s gratifyingly meaningful direction as his forces, much on their musical toes, served up memorable moments from Richard Strauss\u2019 Der Rosenkavalier. I savoured every moment of this magical music given point and\u2026","rel":"","context":"In "Live Performance"","block_context":{"text":"Live Performance","link":"https:\/\/ozartsreviewonline.com\/oz\/category\/live-performance\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":112,"url":"https:\/\/ozartsreviewonline.com\/oz\/w-a-symphony-orchestra-5\/","url_meta":{"origin":158,"position":1},"title":"W.A.Symphony Orchestra","author":"reviewer","date":"July 4, 2018","format":false,"excerpt":"Perth Concert Hall reviewed by Neville Cohn \u00a0 I have been attending \u2013 and reviewing \u2013 WASO concerts for more than 35 years. During that time, I have experienced some of the most satisfying listening I could have hoped for. And in Mahler\u2019s Fourth Symphony, Asher Fisch and the WASO\u2026","rel":"","context":"In "Live Performance"","block_context":{"text":"Live Performance","link":"https:\/\/ozartsreviewonline.com\/oz\/category\/live-performance\/"},"img":{"alt_text":"Stefanie-Ir\u00e1nyi_Credit_Christian-Debus","src":"https:\/\/i0.wp.com\/ozartsreviewonline.com\/oz\/wp-content\/uploads\/2018\/07\/Masters-4_Stefanie-Ir%C3%A1nyi_Credit_Christian-Debus_V2A2762_2-Mahler5-200x300.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":130,"url":"https:\/\/ozartsreviewonline.com\/oz\/opera\/","url_meta":{"origin":158,"position":2},"title":"Opera","author":"reviewer","date":"August 23, 2018","format":false,"excerpt":"\u00a0 Tristan and Isolde (Wagner) W.A.Symphony Orchestra Perth Concert Hall reviewed by Neville Cohn \u00a0 He was a horrible person. He treated women appallingly. His vanity was exceeded only by his vanity. He was ferociously anti-semitic - but never hesitated to appoint top-flight Jews to interpret his music when he\u2026","rel":"","context":"In "Live Performance"","block_context":{"text":"Live Performance","link":"https:\/\/ozartsreviewonline.com\/oz\/category\/live-performance\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/ozartsreviewonline.com\/oz\/wp-content\/uploads\/2018\/08\/Stuart-Skelton-200x300.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":252,"url":"https:\/\/ozartsreviewonline.com\/oz\/w-a-symphony-orchestra-12\/","url_meta":{"origin":158,"position":3},"title":"W.A.Symphony Orchestra","author":"reviewer","date":"April 16, 2019","format":false,"excerpt":"Perth Concert Hall reviewed by Neville Cohn At the weekend, a thrilling concerto performance that brought many in the audience to their feet - and a dance score given magical treatment that reached for, and touched, the stars - \u00a0were presented for concertgoers who filled almost every corner of the\u2026","rel":"","context":"In "Live Performance"","block_context":{"text":"Live Performance","link":"https:\/\/ozartsreviewonline.com\/oz\/category\/live-performance\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/ozartsreviewonline.com\/oz\/wp-content\/uploads\/2019\/04\/Classics-2_Martin_Jaime_PC_Sonia-Balcells_a_300-9-1.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/ozartsreviewonline.com\/oz\/wp-content\/uploads\/2019\/04\/Classics-2_Martin_Jaime_PC_Sonia-Balcells_a_300-9-1.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/ozartsreviewonline.com\/oz\/wp-content\/uploads\/2019\/04\/Classics-2_Martin_Jaime_PC_Sonia-Balcells_a_300-9-1.jpg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/ozartsreviewonline.com\/oz\/wp-content\/uploads\/2019\/04\/Classics-2_Martin_Jaime_PC_Sonia-Balcells_a_300-9-1.jpg?resize=700%2C400&ssl=1 2x, https:\/\/i0.wp.com\/ozartsreviewonline.com\/oz\/wp-content\/uploads\/2019\/04\/Classics-2_Martin_Jaime_PC_Sonia-Balcells_a_300-9-1.jpg?resize=1050%2C600&ssl=1 3x, https:\/\/i0.wp.com\/ozartsreviewonline.com\/oz\/wp-content\/uploads\/2019\/04\/Classics-2_Martin_Jaime_PC_Sonia-Balcells_a_300-9-1.jpg?resize=1400%2C800&ssl=1 4x"},"classes":[]},{"id":175,"url":"https:\/\/ozartsreviewonline.com\/oz\/w-a-symphony-orchestra-7\/","url_meta":{"origin":158,"position":4},"title":"W.A.Symphony Orchestra","author":"reviewer","date":"October 17, 2018","format":false,"excerpt":"Perth Concert Hall reviewed by Neville Cohn \u00a0 If you haven\u2019t heard of Grace Clifford, make a note of her name because, one the evidence of her performance with the WASO at the weekend, she is on a fast track to the stars. This young violinist is still an undergraduate\u2026","rel":"","context":"In "Live Performance"","block_context":{"text":"Live Performance","link":"https:\/\/ozartsreviewonline.com\/oz\/category\/live-performance\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":262,"url":"https:\/\/ozartsreviewonline.com\/oz\/w-a-symphony-orchestra-13\/","url_meta":{"origin":158,"position":5},"title":"W.A.Symphony Orchestra","author":"reviewer","date":"May 11, 2019","format":false,"excerpt":"Perth Concert Hall reviewed by Neville Cohn In less than thoroughly capable hands, Elgar\u2019s Symphony No 1 can seem interminable. And over the years, I\u2019ve had the misfortune to suffer through a number of poor performances of this masterpiece. Not so on Thursday morning, though. With a W.A.Symphony Orchestra very\u2026","rel":"","context":"In "Live Performance"","block_context":{"text":"Live Performance","link":"https:\/\/ozartsreviewonline.com\/oz\/category\/live-performance\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/ozartsreviewonline.com\/oz\/wp-content\/uploads\/2019\/05\/Morning-2_Mark-Wigglesworth-032-credit-Sim-Canetty-Clarke-10.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/ozartsreviewonline.com\/oz\/wp-content\/uploads\/2019\/05\/Morning-2_Mark-Wigglesworth-032-credit-Sim-Canetty-Clarke-10.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/ozartsreviewonline.com\/oz\/wp-content\/uploads\/2019\/05\/Morning-2_Mark-Wigglesworth-032-credit-Sim-Canetty-Clarke-10.jpg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/ozartsreviewonline.com\/oz\/wp-content\/uploads\/2019\/05\/Morning-2_Mark-Wigglesworth-032-credit-Sim-Canetty-Clarke-10.jpg?resize=700%2C400&ssl=1 2x, https:\/\/i0.wp.com\/ozartsreviewonline.com\/oz\/wp-content\/uploads\/2019\/05\/Morning-2_Mark-Wigglesworth-032-credit-Sim-Canetty-Clarke-10.jpg?resize=1050%2C600&ssl=1 3x, https:\/\/i0.wp.com\/ozartsreviewonline.com\/oz\/wp-content\/uploads\/2019\/05\/Morning-2_Mark-Wigglesworth-032-credit-Sim-Canetty-Clarke-10.jpg?resize=1400%2C800&ssl=1 4x"},"classes":[]}],"_links":{"self":[{"href":"https:\/\/ozartsreviewonline.com\/oz\/wp-json\/wp\/v2\/posts\/158","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ozartsreviewonline.com\/oz\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ozartsreviewonline.com\/oz\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ozartsreviewonline.com\/oz\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/ozartsreviewonline.com\/oz\/wp-json\/wp\/v2\/comments?post=158"}],"version-history":[{"count":0,"href":"https:\/\/ozartsreviewonline.com\/oz\/wp-json\/wp\/v2\/posts\/158\/revisions"}],"wp:attachment":[{"href":"https:\/\/ozartsreviewonline.com\/oz\/wp-json\/wp\/v2\/media?parent=158"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ozartsreviewonline.com\/oz\/wp-json\/wp\/v2\/categories?post=158"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ozartsreviewonline.com\/oz\/wp-json\/wp\/v2\/tags?post=158"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}