Third semifinal day – afternoon
program
Anton Kraft – Concerto in C major op. 4
Royal Chamber Orchestra of Wallonia, dir. Vahan Mardirossian
He masters the technical aspects flawlessly and possesses exceptionally skilled fingerwork, but falls short in emotional expression. The gradation in intensity, the crescendos and diminuendos, are almost entirely absent.
Less collaboration; there are passages where he fails to distinguish himself sufficiently from the orchestral background. At certain moments a lack of clarity is noticeable; an original addition of a scherzo, a personal contribution not foreseen by the composer, disrupts or clouds the clarity of sound, whereas this could have been better resolved.
program
Leopold Hofmann – Concerto in D major Badley D3
Royal Chamber Orchestra of Wallonia, dir. Vahan Mardirossian
A convincing interpretation in his distinctive approach to this concerto, chosen by many candidates, in which Simon Tetzlaff relishes every moment he plays.
Through phrasing, intonation, and technical precision in the tonal range, the color spectrum, and the beauty of his cello voice, he allows the music to come fully into its own. He performs with confidence, presence, musicality, and intuition in a display of clarity, gentleness, and glory in which, through the musician's distinctive bearing, the cello steps forward as the lead voice.
program
Harold Noben – Caffeine
Zoltan Kodály – Sonata in B minor op. 8
Yukie Takai, pianist accompanist
In addition to Noben's required piece, he also performs Kodály's sonata, thereby emphasizing the affinity between Swedish and Hungarian classical music. His playing testifies to a deep emotionality and a seamless integration of themes: musings on distant lands and ethnographic motifs. With his well-considered, thoughtful, and careful approach, Marcus Michelin has the potential to drive innovations in cello technique and go beyond conventional and accepted norms. I'm curious how the jury will react to this.
program
Harold Noben – Caffeine
Bohuslav Martinů – Sonata no. 2 H 286
Antonín Dvořák – Klid (Silent Woods) op. 68/5 B 173
Noreen Polera, pianist accompanist
An energetic performance, sensitive, with restless fingers on the bow, evoking a sense of paradoxical vulnerability and fragility. She possesses remarkable fluidity; her music, in its irresistible flow, gives the impression that each performance is unique. Her whole body is brought into motion in interpreting this carefully mastered repertoire. What she has learned in her technical studies has been completely internalized. Meaningful phrasing, an excellent tone. Although she is still at the beginning of her career, she shows signs of artistic growth.
