Artist at Work

The 2022 concert season, at least pianistically, ended on a very high note with Sergei Babayan’s concerto debut with the Vancouver Symphony Orchestra.

 

Mr. Babayan had of course made his debut in Vancouver already, in a highly distinguished recital for The Vancouver Chopin Society, in the pre-pandemic days of 2017. Since then, his schedule has been very full indeed, with appearances with artists like Daniil Trifonov and Martha Argerich, recording dates, his very busy teaching studio, and appearances with orchestras. Perhaps this is why it has taken our orchestra so long to obtain a date with him. But better late than never, because Friday night’s concert was probably one of the Vancouver Symphony’s most memorable concerts since live performances began. For this concert, Babayan chose to play Mozart’s Piano Concerto No. 25 in C Major, K. 503.

 

With the piano’s first entry, I immediately knew that we were in for a very special performance. I had heard this very instrument played by many outstanding artists that played with the orchestra, and in recitals, but I had not heard a musician produced such a luminous, iridescent sound from these keys. There was a sense of lightness and buoyancy with each note, and each run. And with what profound emotion he played the gorgeous G major piano theme!

 

In the second movement, the four simple descending notes, C, A, F and E, was played with such simplicity but transcendent beauty, that illuminated the entire movement. At times, the sounds emanating from the instrument were no longer piano sounds, but just sounds of pure beauty and joy. In the third movement, Babayan played the music with the enthusiasm of a schoolboy, in the very best sense of the word, with a palpable exuberance that makes one want to stand up and cheer. It was truly a breathtaking, and breathtakingly luminous, performance of one of Mozart’s most majestic concerti.

 

As with any great Mozart performance, one is reminded of the operatic nature of much of the composer’s works. Last Friday evening’s performance so reminded me of Le Nozze di Figaro, with the soloist taking all the parts, and the orchestra commenting on the action!

 

Inspired by Babayan’s artistry, the orchestra and Otto Tausk were sympathetic partners in this memorable performance. The orchestra’s woodwinds, especially, contributed much to the tapestry of sound colours. 

 

With the uncertainties and vicissitudes of traveling today, the orchestra was plagued with a couple of high-profile cancellations this season. I am glad that Vancouver audiences had this opportunity to witness the artistry of this great artist and musician, and I hope that Mr. Babayan will be a frequent visitor to our city.