In a much-anticipated return to the major concert stage, violinist Nicola Benedetti proved exactly why she holds the title of the nation's favourite violinist. Her performance at London's Royal Albert Hall, part of her first major tour in a decade, felt less like a formal recital and more like a brilliantly polished jam session amongst friends.
An Unconventional and Inspired Ensemble
Benedetti was not alone on stage. She was joined by a remarkably tight and responsive trio, an unconventional lineup of cellist Maxim Calver, guitarist Plínio Fernandes, and accordionist Samuele Telari. Together, they created a rich tapestry of intriguing sonorities that filled the vast hall, even if some of the finer musical details were occasionally lost in the space.
The evening was relaxed, punctuated by friendly and unscripted chat from the stage. Musically, however, the programme was a selection of delicious, bite-sized pieces rather than a single, substantial work—a canapé-style offering that was no less satisfying for its variety.
A Musical Menu of Three Parts
The concert's repertoire loosely fell into three distinct categories. The first featured romantic salon pieces, including a beautifully arranged Sicilienne—attributed to Maria Theresia von Paradis but actually written by Samuel Dushkin—and Debussy's Beau Soir. Here, Benedetti's generous tone and velvety phrasing were perfectly matched by the trio's relaxed accompaniment, perfectly capturing the intimate Violin Café ambience of the tour's accompanying album.
The mood then shifted to Scottish folk tunes, with the quartet joined by Fin Moore on the smallpipes. Moore first provided a drone before taking up the melody, allowing Benedetti to improvise freely above. This folk spirit was later echoed in the encore, a poignant performance of Sir Peter Maxwell Davies's Farewell to Stromness.
A Show of Virtuoso Strength
For any who feared that her demanding role as director of the Edinburgh International Festival might have softened her technical prowess, Benedetti had a powerful answer. A series of show-stopping numbers left no doubt that her rock-solid technique remains fully intact.
The audience was treated to a Wieniawski polonaise and Paganini's caprices. The first caprice was performed solo, as originally written, while the twenty-fourth was delivered in a spirited arrangement for the full ensemble. For Sarasate's virtuosic violin duet, Navarra, Benedetti brought on Emma Baird as her partner. The evening culminated with Sarasate's Carmen Fantasy, a final, breathtaking display from a violinist who is demonstrably still at the peak of her powers.
The tour continues to The Lighthouse in Poole and across the UK until 4 December.
