Weber: Invitation to the Dance, Op. 65; Grieg: Three Lyric Items; Schumann: Fantasiestücke, Op. 12; Ravel: Valses nobles et sentimentales, M.61; Chopin: Berceuse in D flat, Op. 57; Scherzo No. 1 in B Minor, Op. 20. Jane Mallett Theatre, Tuesday, March 18, 2025.
Because of the venerable presenter Music Toronto, a company that has introduced lovely music to our truthful metropolis for over the past 50 years, piano followers had been handled this month to 2 superlative performances by nice Canadian pianists — Illia Ovcharenko on March 4, and Janina Fialkowska on March 18.
On condition that the 2 live shows occurred in such shut proximity, one can’t assist however draw comparisons. By way of age, there’s an eye-popping 5 many years separating the 2 pianists, with Ovcharenko at 23 and in his youthful prime, whereas Fialkowska, a real Canadian Evergreen, is a venerable 73.
By way of their artistry, there’s additionally a most fascinating distinction – we have now a flashy younger pianist with wonderful technical prowess in Ovcherenko, versus the effectively seasoned, “complete-artist” sensibilities of a septuagenarian in Fialkowska. Remarkably, her efficiency marked her tenth at Music Toronto, the place she first performed in 1976, a staggering 49 years in the past.
A Efficiency To Honour
Effectively, based mostly on Fialkowska’s efficiency final night, she nonetheless has what it takes to dazzle and make the viewers rise up and cheer — it was a efficiency to honour and luxuriate in.
She opened with the classical and stylish Invitation to the Dance (Weber Op. 65). Fialkowska selected a brisk tempo, the entire piece lasted one thing like lower than eight minutes, quick however not rushed, with a felicitous mixture of joyous spirit and the requisite lyricism. A beautiful begin to the proceedings.
It was adopted by three items of Edvard Grieg. As soon as once more, these melodically impressed brief research shone underneath her fingers. Particularly the second piece, For dine Fødder (Op. 68 no. 3), with its caressingly beautiful melody. It was merely balm to my ears.
Then it was on to a lengthier, extra weighty work, Schumann’s beloved Fantasiestücke. From its plaintive opening of Des Abends, adopted by the agitated Aufschwung, she took us on a beautiful sonic journey of a chunk that defines Excessive Romanticism. It was a most satisfying finish to the primary half.
She opened the second half by chatting with the viewers, relating a joke of her mentor, the late, nice Arthur Rubinstein. He premiered Ravel’s Valses nobles et sentimentales, in Madrid, and he was booed! Not that he performed badly, however the conservative viewers didn’t like “fashionable music” …ouch! Rubinstein had his revenge by programming it later — as an encore.
Effectively, in Fialkowska’s deft fingers, the Ravel solely introduced cheers, together with from me — her enjoying was marvellous. The recital ended with two Chopin works, arguably the centrepieces of any Fialkowska recital. She began with Berceuse in D flat, Op. 57, the hushed, supremely lyrical melody sounded really beautiful.
It was thrilling for her to finish the recital with a bang — a really musical bang that’s! — Chopin’s Scherzo No. 1. This piece requires a giant method, and Fialkowska confirmed in no unsure phrases that at 73 — happening to 74 in early Could — she nonetheless has the proverbial huge method. It was a really thrilling, virtuosic show at what the good Janina Fialkowska can do, after 50 years of a giant profession.
Could she have one other 50 years, God keen.
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Joseph So is Professor Emeritus at Trent College and Affiliate Editor of Opera Canada.He’s additionally a long-time contributor to La Scena Musicale and Opera (London, UK). His curiosity in music journalism focuses on voice, opera in addition to symphonic and piano repertoires. He seems frequently as a panel member of the Large COC Podcast.He has co-edited a e-book, Opera in a Multicultural World: Coloniality, Tradition, Efficiency, printed by Routledge (Taylor & Francis Group).