Berg VC à Bruxelles, le 5 Février 2012
Vadim Repin, Brussels Philharmonic, Michel Tabachnik
Succès pour Berg et Debussy
Concert passionnant à Bozar. Tabachnik à la barre, Repin en soliste.
Imagine-t-on que le "Concerto pour violon" d’Alban Berg et le "Martyre de saint Sébastien" de Debussy puissent attirer la foule ? Ce fut pourtant le cas dimanche soir malgré les conditions climatiques que l’on sait.
D’abord pour l’extraordinaire aisance de l’orchestre dans Berg : une partition difficile qui, sous la direction de Michel Tabachnik, semblait totalement intériorisée, de telle sorte que Vadim Repin - qui donnait cette œuvre pour la première fois en public - se trouva enveloppé, littéralement, d’une fraternelle sécurité, opulence sonore en sus.
Martine D. Mergeay
Feb 8, 2012
Oct 18, 2011
17-10-2011
Lalo "Symphonie espagnole", Istambul, 13-10-2011
Vadim Repin, Borusan Philharmonic, Sascha Goetzel
Lalo’s “Symphonie Espagnole” is actually the equivalent of two violin concertos, and the orchestra is an accompanist to a virtuoso showpiece for the soloist. Vadim Repin spun the magic with both sweet radiant tone and rapid-fire prowess throughout the five movements, the last of which is the most famous due to its catchy tune and technical wizardry a la Paganini. The obstacle to ensemble integrity is the constant change of tempo; the solo part invariably shifts from one mood to the next without warning. For this, Maestro Goetzel, who has conducted innumerable divas and operas, is an expert.
Alexandra Ivanov, Istambul, 17 October 2011.
Vadim Repin, Borusan Philharmonic, Sascha Goetzel
Lalo’s “Symphonie Espagnole” is actually the equivalent of two violin concertos, and the orchestra is an accompanist to a virtuoso showpiece for the soloist. Vadim Repin spun the magic with both sweet radiant tone and rapid-fire prowess throughout the five movements, the last of which is the most famous due to its catchy tune and technical wizardry a la Paganini. The obstacle to ensemble integrity is the constant change of tempo; the solo part invariably shifts from one mood to the next without warning. For this, Maestro Goetzel, who has conducted innumerable divas and operas, is an expert.
Alexandra Ivanov, Istambul, 17 October 2011.
Jul 29, 2011
22-07-2011
Montpellier, 22-07-2011
MacMillan VC, Prokoviev VC 2, Vadim Repin, Ensemble Orchestral de Paris, Joseph Swensen
L’impression ne fait que se confirmer lorsque, au complet, la phalange parisienne s’attaque au Concerto pour violon de James MacMillan (né en 1959) avec Vadim Repin en soliste. Montpellier ne pouvait faire meilleur choix que cet artiste qui, outre ses qualités techniques et musicales, connaît l’œuvre comme sa poche pour en avoir assuré la création à Londres le 12 mai 2010 sous la baguette de Valery Gergiev à la tête du LSO, puis l’avoir reprise à Philadelphie le 24 février dernier au côté de Charles Dutoit.
Ecrit à la mémoire de la femme du compositeur, Ellen, décédée en 2008 et dédié à Vadim Repin, le Concerto du compositeur écossais fait entendre une musique admirablement écrite pour le violon. Plusieurs rappels enthousiastes salueront d’ailleurs la première française d’une réalisation qui conjugue énergie rythmique, lyrisme et variété des coloris - McMillan n’hésite pas à faire référence à des thèmes écossais ou irlandais. Rien d’une couverture écossaise toutefois. De facture classique avec ses trois mouvements et une périlleuse cadence au terme du finale, la partition s’impose par sa cohérence. On insistera sur l’émotion que dégage un mouvement médian habité avec sensibilité et pudeur par Repin et sur le foisonnement ambigu d’un vigoureux finale au cours duquel McMillan demande aux membres de l’orchestre de scander quelques paroles en allemand.
Swensen et ses troupes se régalent, là comme dans la Symphonie n° 35 « Haffner » de Mozart placée en début de seconde partie. Un répertoire qui ne pardonne pas… A nouveau, l’EOP étonne par le fini et la justesse stylistique de son approche. Vitalité, luminosité du propos : le ton est idéal pour accompagner notre impatience de retrouver le violoniste russe dans le Concerto n° 2 de Prokofiev ! L’ouvrage demeure relativement rare dans les programmes ; on le regrette d’autant plus quand un poète de l’archet du calibre de Repin s’en empare. Brillant mais jamais extérieur, il trouve en Swensen en partenaire idéal de finesse et de précision rythmique dans les mouvements vifs, un complice attentif à lui tisser le plus bel écrin dans l’Andante assai aussi. Il vrai que le chef, violoniste de talent par ailleurs, est en l’occurrence bien placé pour lui donner la réplique, avec le précieux concours d’un orchestre à son meilleur.
Alain Cochard
Festival de Radio France et Montpellier, le 22 juillet 2011
MacMillan VC, Prokoviev VC 2, Vadim Repin, Ensemble Orchestral de Paris, Joseph Swensen
L’impression ne fait que se confirmer lorsque, au complet, la phalange parisienne s’attaque au Concerto pour violon de James MacMillan (né en 1959) avec Vadim Repin en soliste. Montpellier ne pouvait faire meilleur choix que cet artiste qui, outre ses qualités techniques et musicales, connaît l’œuvre comme sa poche pour en avoir assuré la création à Londres le 12 mai 2010 sous la baguette de Valery Gergiev à la tête du LSO, puis l’avoir reprise à Philadelphie le 24 février dernier au côté de Charles Dutoit.
Ecrit à la mémoire de la femme du compositeur, Ellen, décédée en 2008 et dédié à Vadim Repin, le Concerto du compositeur écossais fait entendre une musique admirablement écrite pour le violon. Plusieurs rappels enthousiastes salueront d’ailleurs la première française d’une réalisation qui conjugue énergie rythmique, lyrisme et variété des coloris - McMillan n’hésite pas à faire référence à des thèmes écossais ou irlandais. Rien d’une couverture écossaise toutefois. De facture classique avec ses trois mouvements et une périlleuse cadence au terme du finale, la partition s’impose par sa cohérence. On insistera sur l’émotion que dégage un mouvement médian habité avec sensibilité et pudeur par Repin et sur le foisonnement ambigu d’un vigoureux finale au cours duquel McMillan demande aux membres de l’orchestre de scander quelques paroles en allemand.
Swensen et ses troupes se régalent, là comme dans la Symphonie n° 35 « Haffner » de Mozart placée en début de seconde partie. Un répertoire qui ne pardonne pas… A nouveau, l’EOP étonne par le fini et la justesse stylistique de son approche. Vitalité, luminosité du propos : le ton est idéal pour accompagner notre impatience de retrouver le violoniste russe dans le Concerto n° 2 de Prokofiev ! L’ouvrage demeure relativement rare dans les programmes ; on le regrette d’autant plus quand un poète de l’archet du calibre de Repin s’en empare. Brillant mais jamais extérieur, il trouve en Swensen en partenaire idéal de finesse et de précision rythmique dans les mouvements vifs, un complice attentif à lui tisser le plus bel écrin dans l’Andante assai aussi. Il vrai que le chef, violoniste de talent par ailleurs, est en l’occurrence bien placé pour lui donner la réplique, avec le précieux concours d’un orchestre à son meilleur.
Alain Cochard
Festival de Radio France et Montpellier, le 22 juillet 2011
Jun 27, 2011
24-06-2011
Trier, Bruch VC No1, Deutsche Radio Philharmonie, Saarbrücken Kaiserlautern, Mario Venzago
Mittelpunkt des Konzertes war natürlich das Violinkonzert Nr. 1 von Bruch. Als Solisten hatte Lewen den russischen Geiger Vadim Repin engagiert. Der 39-jährige Sibirier erledigte seinen Part so, wie Bruch es persönlich erwartet hätte.
Er ließ seine Guaneri del Gesù von 1743 singen und präsentierte die Seele der Komposition. Virtuosität und Empathie gleichermaßen prägten seine Spielweise. Leidenschaftlich widmete er sich dem ersten Satz, im zweiten ließ er einen wahren Strom von Emotionen von der Bühne herabfließen und im beschließenden Finale erstrahlten seine technischen Fähigkeiten in leuchtenden Farben. Was will man nach solch einem Konzert dem Publikum als Zugabe anbieten? "Oh cara mamma mia", eine neapolitanische Canzonette, bei der die Streicher der Philharmonie als Zupforchester zur Seite standen.
Gerhard W. Kluth
Mittelpunkt des Konzertes war natürlich das Violinkonzert Nr. 1 von Bruch. Als Solisten hatte Lewen den russischen Geiger Vadim Repin engagiert. Der 39-jährige Sibirier erledigte seinen Part so, wie Bruch es persönlich erwartet hätte.
Er ließ seine Guaneri del Gesù von 1743 singen und präsentierte die Seele der Komposition. Virtuosität und Empathie gleichermaßen prägten seine Spielweise. Leidenschaftlich widmete er sich dem ersten Satz, im zweiten ließ er einen wahren Strom von Emotionen von der Bühne herabfließen und im beschließenden Finale erstrahlten seine technischen Fähigkeiten in leuchtenden Farben. Was will man nach solch einem Konzert dem Publikum als Zugabe anbieten? "Oh cara mamma mia", eine neapolitanische Canzonette, bei der die Streicher der Philharmonie als Zupforchester zur Seite standen.
Gerhard W. Kluth
May 20, 2011
20-05-2011
19-05-2011
Live from the Royal Festival Hall in London
Lang Lang (piano) Vadim Repin (violin) Mischa Maisky (cello)
Rachmaninov: Trio élégiaque No.1 in G minor
Mendelssohn: Piano Trio No.1 in D minor, Op.49
Tchaikovsky: Piano Trio in A minor, Op.50
Vadim Repin and Mischa Maisky joined Lang for a programme of piano trios by Rachmaninov, Mendelssohn and Tchaikovsky. Lang refuses to hog the limelight in chamber music, and his mercurial approach contrasted nicely with Repin's deep seriousness and Maisky's more extrovert romanticism. There was a fine sense of give and take between them in a brooding performance of Rachmaninov's First Trio Elégiaque, while Mendelssohn's D Minor Trio sounded exquisite.
Tchaikovsky's huge A Minor Trio, however, was the high point, the first movement beautifully controlled throughout its vast span, the variations vividly wide-ranging before reaching a haunting close.
Superb.
Tim Ashley
guardian.co.uk, Friday 20 May 2011
Live from the Royal Festival Hall in London
Lang Lang (piano) Vadim Repin (violin) Mischa Maisky (cello)
Rachmaninov: Trio élégiaque No.1 in G minor
Mendelssohn: Piano Trio No.1 in D minor, Op.49
Tchaikovsky: Piano Trio in A minor, Op.50
Vadim Repin and Mischa Maisky joined Lang for a programme of piano trios by Rachmaninov, Mendelssohn and Tchaikovsky. Lang refuses to hog the limelight in chamber music, and his mercurial approach contrasted nicely with Repin's deep seriousness and Maisky's more extrovert romanticism. There was a fine sense of give and take between them in a brooding performance of Rachmaninov's First Trio Elégiaque, while Mendelssohn's D Minor Trio sounded exquisite.
Tchaikovsky's huge A Minor Trio, however, was the high point, the first movement beautifully controlled throughout its vast span, the variations vividly wide-ranging before reaching a haunting close.
Superb.
Tim Ashley
guardian.co.uk, Friday 20 May 2011
Mar 26, 2011
26-03-2011
Repin and Lugansky: Power duo share İş Sanat stage
Two of the world’s most notable Russian music virtuosos, violinist Vadim Repin and pianist Nikolai Lugansky, came to İstanbul to perform three beloved sonatas for violin and piano at İş Sanat on March 19.
In this momentous recital, we witnessed true genius at work: While some musicians play all the right notes in the right order, Repin and Lugansky instinctively take those notes and completely reassemble our consciousness.
Starting off with Edward Elgar’s introspective and melancholy Violin Sonata in E minor, Repin only hinted at what musical glories were to come during his reading of this highly chromatic and curiously wandering work, for which he used a score. Not that I necessarily expected this thorny work to be memorized, but doing it this way felt more like a standard professorial recital.
When he pushed aside the music stand and dug into the delightful sonorities of Edvard Grieg’s Sonata No. 2 in G Major from memory, we heard how Repin had the Norwegian composer’s soul imprinted on his very being. Composed in 1867, this sonata is a fine example of musical nationalism, as it includes many references to his country’s folk music. Its triadic tonal language notwithstanding, it clearly looked into the future as Grieg wove a sense of tragedy with lighthearted folk themes in a ruggedly sinewy texture between the two instruments. Through Repin and Lugansky’s solid mastery, we floated through the warm waves of folk dance-inspired melodies as well as moments of forlorn solitude, cascading us through the joyful whirlpools of the twirling finale.
But an even more incredible magic bewitched the entire hall and every occupant in the seats when their performance of César Franck’s Sonata in A Major demonstrated a standard to which few can measure up. Their mutual passion, their ultimate control over every phrase’s breath, the superbly uttered drama and magnetic energy with which they dispatched every note was a lesson in take-no-prisoners performing: without the fire in the belly, don’t even bother.
They made every familiar line important in ways I hadn’t heard before. Each soaring crescendo, the intensity of energy flowing through each effulgent melody, the way they mined every drop of emotional sweat with intention so that even the tiniest, most pianissimo line was delicately and tenderly delivered was the zenith of consummate music-making. This sonata’s second movement is one of the outstanding epitomes of classical music’s great romantic chamber compositions. Its rhapsodic and dramatic construction, replete with cresting waves of ecstatic energy and cadences imbued with dark passion, drops us feet first into a heady yet visceral mix. In Repin and Lugansky’s hands it becomes a transcendent and miraculous experience.
Although Repin was physically front-and-center throughout, this was an ineffable duo performance of equal partners. Having heard Lugansky play here in İstanbul during a recent summer festival, this performance reaffirmed what I felt about him then. Lugansky’s power as a chamber musician is undeniably idyllic and engaging. Feeling the weight of his organic relationship with the instrument, the wide palette of colors and the effortless precision of every note provided almost intoxicating levels of enjoyment. His consummate control of both feather-weight textures and powerful fortissimo passages, all the while supporting and encircling the role of the violin, made the perfect partner in a perfectly executed, passionately delivered musical event.
After an uproar of approval by the audience, their encore of Bela Bartok’s “Rumanian Folk Dances” was a yet more delicious fare, making us all want even more. These two magnificent artists indeed provided one of the İstanbul musical season’s highlights. I breathlessly await their return.
ALEXANDRA IVANOFF
Two of the world’s most notable Russian music virtuosos, violinist Vadim Repin and pianist Nikolai Lugansky, came to İstanbul to perform three beloved sonatas for violin and piano at İş Sanat on March 19.
In this momentous recital, we witnessed true genius at work: While some musicians play all the right notes in the right order, Repin and Lugansky instinctively take those notes and completely reassemble our consciousness.
Starting off with Edward Elgar’s introspective and melancholy Violin Sonata in E minor, Repin only hinted at what musical glories were to come during his reading of this highly chromatic and curiously wandering work, for which he used a score. Not that I necessarily expected this thorny work to be memorized, but doing it this way felt more like a standard professorial recital.
When he pushed aside the music stand and dug into the delightful sonorities of Edvard Grieg’s Sonata No. 2 in G Major from memory, we heard how Repin had the Norwegian composer’s soul imprinted on his very being. Composed in 1867, this sonata is a fine example of musical nationalism, as it includes many references to his country’s folk music. Its triadic tonal language notwithstanding, it clearly looked into the future as Grieg wove a sense of tragedy with lighthearted folk themes in a ruggedly sinewy texture between the two instruments. Through Repin and Lugansky’s solid mastery, we floated through the warm waves of folk dance-inspired melodies as well as moments of forlorn solitude, cascading us through the joyful whirlpools of the twirling finale.
But an even more incredible magic bewitched the entire hall and every occupant in the seats when their performance of César Franck’s Sonata in A Major demonstrated a standard to which few can measure up. Their mutual passion, their ultimate control over every phrase’s breath, the superbly uttered drama and magnetic energy with which they dispatched every note was a lesson in take-no-prisoners performing: without the fire in the belly, don’t even bother.
They made every familiar line important in ways I hadn’t heard before. Each soaring crescendo, the intensity of energy flowing through each effulgent melody, the way they mined every drop of emotional sweat with intention so that even the tiniest, most pianissimo line was delicately and tenderly delivered was the zenith of consummate music-making. This sonata’s second movement is one of the outstanding epitomes of classical music’s great romantic chamber compositions. Its rhapsodic and dramatic construction, replete with cresting waves of ecstatic energy and cadences imbued with dark passion, drops us feet first into a heady yet visceral mix. In Repin and Lugansky’s hands it becomes a transcendent and miraculous experience.
Although Repin was physically front-and-center throughout, this was an ineffable duo performance of equal partners. Having heard Lugansky play here in İstanbul during a recent summer festival, this performance reaffirmed what I felt about him then. Lugansky’s power as a chamber musician is undeniably idyllic and engaging. Feeling the weight of his organic relationship with the instrument, the wide palette of colors and the effortless precision of every note provided almost intoxicating levels of enjoyment. His consummate control of both feather-weight textures and powerful fortissimo passages, all the while supporting and encircling the role of the violin, made the perfect partner in a perfectly executed, passionately delivered musical event.
After an uproar of approval by the audience, their encore of Bela Bartok’s “Rumanian Folk Dances” was a yet more delicious fare, making us all want even more. These two magnificent artists indeed provided one of the İstanbul musical season’s highlights. I breathlessly await their return.
ALEXANDRA IVANOFF
Mar 4, 2011
3-03-2011
A New Scottish Concerto, Dressed Up and Dreamy
Philadelphia Orchestra: Charles Dutoit, conductor, with Vadim Repin, violinist, in James MacMillan’s new Violin Concerto at Carnegie Hall., March 1st, 2011.
Composed in memory of Mr. MacMillan’s mother, who died in 2008, the concerto derives its considerable emotive impact from graceful and grotesque elements juxtaposed with a dreamy illogic. A bubbly Scottish reel breaks out at the first movement’s climax. In the second, the winsome solo lines flutter over elegiac oboe, guttural brass and dreamy, tuned percussion; a tender passage for piccolo and piano conjures an Irish folk song.
Tougher to parse is a finale that opens with a gesture Mr. MacMillan has ascribed to his dreams : over a stolid timpani tread the orchestra’s men chant, “Ein, zwei, drei, vier: Meine Mutter, tanz mit mir.” (“One, two, three, four: my mother, dance with me.”) Brass shrieks, vivacious dance rhythms and a lurid waltz parody ensue; an amplified female speaker, unseen, precedes a final solo cadenza and hammering final flourish.
However wayward the concerto might have seemed in a first listening, Mr. Repin’s unshakable bravura and the orchestra’s magnificent playing made a compelling case for it. Audience response was rousing and sustained.
Steve Smith for The New York Times
Philadelphia Orchestra: Charles Dutoit, conductor, with Vadim Repin, violinist, in James MacMillan’s new Violin Concerto at Carnegie Hall., March 1st, 2011.
Photo by Daniel Barry
The concerto, a 25-minute work in three movements, adheres loosely to historical conventions of form: a crackling opening movement (“Dance”) is followed with a more lyrical section (“Song”) and a finale filled with exuberant display (“Song and Dance”). The solo part’s torrential flurries and sweetly spun melodies are custom fitted to a virtuoso like Mr. Repin, to whom the work is dedicated. Mr. MacMillan’s estimable mastery of orchestral timbre and effect is evident throughout. Composed in memory of Mr. MacMillan’s mother, who died in 2008, the concerto derives its considerable emotive impact from graceful and grotesque elements juxtaposed with a dreamy illogic. A bubbly Scottish reel breaks out at the first movement’s climax. In the second, the winsome solo lines flutter over elegiac oboe, guttural brass and dreamy, tuned percussion; a tender passage for piccolo and piano conjures an Irish folk song.
Tougher to parse is a finale that opens with a gesture Mr. MacMillan has ascribed to his dreams : over a stolid timpani tread the orchestra’s men chant, “Ein, zwei, drei, vier: Meine Mutter, tanz mit mir.” (“One, two, three, four: my mother, dance with me.”) Brass shrieks, vivacious dance rhythms and a lurid waltz parody ensue; an amplified female speaker, unseen, precedes a final solo cadenza and hammering final flourish.
However wayward the concerto might have seemed in a first listening, Mr. Repin’s unshakable bravura and the orchestra’s magnificent playing made a compelling case for it. Audience response was rousing and sustained.
Steve Smith for The New York Times
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