It took some time to find the form. Now is the annual festival concert with the Royal stockholm Philharmonic orchestra on december 8, an obvious prelude to the nobel week. The concept? Famous soloist and/or conductor, known classical repertoire, any royal on site, bubbly in the interval, and (for some) dinner. The dressed-up audience clapping enthusiastically after every batch – and why not. Usually offered the music at the very highest level.

But perhaps not this time, even if it was an entertaining evening. Ann-Sofi Söderqvists ”Movements”, a time ordered for the opening of the parliament, a vibrant big band translated to the symphony orchestra. Powerful wave action in the brass, harp and percussion evens out in the pacific patches of alternately balmy oases, sometimes desolate frostbite. A catchy musical metaphor for the passage of changing uncertainty.

konsertinitiativ – the music of a now living Swedish. Only the name Tchaikovsky broke of the contemporary female concept: världsviolinisten Lisa Batiashvili and Karina Canellakis, an american dirigentraket who often visited Stockholm, at the later time. I liked sharp her Beethovenfemma last year, but Nobelkvällens Tjajkovskijfyra not reached quite the same level.

Karina Canellakis wagered heavily on the symfonins discharges with a powerful, sizzling brass and the contrasting weak parties. But this focus on the dynamics gave little room for interpretation and phrasing of the hard-working philharmonic orchestra. The beautiful sångtemat in the second movement became a monotonous story, while the finale could burst in fiery pyrotechnics.

Lisa Batiashvili excelled in Tchaikovsky’s violin concerto with a rich, saturated tone, dreamy lyrics and lavishly virtuoseri – not always with the response from the conducts. Just extra delightful was the encore: the sublime Bachkoralen ”Ich ruf’ zu dir” in Anders Hillborgs serena arrangements.

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