Thrills and Rare Insight From Tosca Opdam and Victor Stanislavsky at Carnegie Hall Last Night
Last night at Carnegie Hall, violinist Tosca Opdam was one step removed from the hardest kind of performance a musician can deliver: a solo show. She settled for second hardest, a duo set with pianist Victor Stanislavsky that was both a guided tour of the innermost secrets of music stretching across four centuries…not to mention a lusciously tuneful ride.
There’s a point during the first movement of Bach’s Sonata for Violin and Harpsihcord, BWV 1016 where the rhythm takes a subtle shift behind a vastly more dramatic turn, as the melody leaves a calmly lively fugal motion for a sudden descent into the shadows. Over a hundred years later, Debussy did exactly the same thing – in a completely different idiom – in his only Violin Sonata. Did the godfather of Modernism know of his predecessor’s work? From how Opdam and Stanislavsky approached both of those moments, moving in unison with a judiciously wary, balletesque grace, the answer seemed obvious.
On one hand, that’s why Juilliard exists, to steep the next generation of serious concert artists in the tradition so they can make connections like these. On the other hand, programs like this too seldom do. For whatever reason, Stanislavsky played the Bach with a lilt, just a hair behind the beat, an unusual approach. Then again, Bach didn’t write for the piano, so there’s bound to be something unusual about anything by Bach played on it. The effect was well-suited to Opdam’s spun-silk filigrees, jaunty leaps and bounds and contrastingly plaintive washes.
Another parallelism later in the program was just as stunning. The second of two Korngold miniatures from his Much Ado About Nothing Suite built a rather twisted, carnivalesque, marionettish pulse. A similarly sardonic danse macabre recurred in the second movement of Prokofiev’s Violin Sonata No. 2 in D, Op. 94.5, and once again the duo brought out every bit of grimness and greasepaint.
And that’s where Opdam built what had already been a thrilling program to exit velocity. Violin sonatas exist first and foremost for showcasing dazzling technique, and up to this point she’d parsed the stately baroque, the wistful late Romantic and some playful phantasmagoria. As the concert built momentum, she allowed herself a smile after each piece was up – if you could have played these pieces like she did, you would have been smiling too. It wasn’t until a particularly slithery hairpin turn in the third movement of the Prokofiev that she allowed herself an unselfconscious bit of a grin midway through, a whispery of a “yesssss!”
There was also a new commission on the bill, introducing the Prokofiev with what was supposed to be a shifting seaside tableau, matched by Opdam’s lavish costume change, but which came across as more of a portrait of peevish obsessiveness. Stanislavsky, who excels particularly with the Romantics, seemed absolutely baffled as to how to approach it and he wasn’t alone. The duo seemed to be trying as hard as they could through some awkwardness and got some polite applause for their efforts. They’d be rewarded with three standing ovations after treating the audience to a warmly welcoming, neoromantic miniature of an encore by Dutch composer Henriette Bosmans.
Opdam’s next concert is on her home turf at the Stedelijk Museum, Museumplein 10 in Amsterdam, on July 7.