Soprano Kristine Opolais shines in CBSO’s Tchaikovsky and Verdi concert

Oct 12 2009 by Julian Seva, Birmingham Post

CBSO

Symphony Hall

Although Verdi and Tchaikovsky are mainstream attractions, not even the presence of Latvian soprano Kristine Opolais (who made such an impact in last season’s La Bohème) and a CBSO in marvellous form were enough to fill the house on Saturday.

True, Opolais is not quite a household name (she will be one day, make no mistake), and conductor Dmitri Slobodeniouk has yet to establish himself on the UK concert circuit, but both are artists with huge talent and great appeal.

Without wishing to be too invidious, Opolais’s gorgeous voice and appearance make her instantly alluring; Slobodeniouk on the other hand is a slight, somewhat dapper figure with a conducting style more neatly functional than charismatic.

His support for Opolais in extracts from Tchaikovsky’s Eugene Onegin and Verdi’s Otello was perfectly judged, as were the solo contributions from oboist Rainer Gibbons and principal horn Elspeth Dutch.

Nevertheless, it was Opolais who stole the show, singing (and acting) Tchaikovsky’s Letter Scene with compelling passion and, in the glorious big tune, a tone of exquisite sweetness.

As Desdemona in Verdi’s Willow Song and Ave Maria her approach was subtly different, still beautifully expressive and (it seemed) with a quiet acceptance of her tragic fate.

And when she came to the magical final bars, with a pianissimo to die for, the emotional effect was totally overwhelming.

The most impressive orchestral item was Tchaikovsky’s Symphony No. 4. By allowing drama to emerge naturally as the music progressed, the climaxes of the first movement and much of the finale had tremendous veracity and power, while the dazzling sectional contrasts in the scherzo demonstrated just how well co-ordinated and disciplined these players are.

Rating: 4/5

David Hart