Page 351 - Liverpool Philharmonic 22-23 Season Coverage Book

Domingo Hindoyan
© Royal Liverpool Philharmonic Orchestra
After a brief stage reset, increasing the cello section to 12 (equalling the second violins),
came Debussy’s three orchestral sketches depicting the sea. From the outset of From
Dawn to Midday on the Sea the string colours were much richer, warmer and acquiring a
dimension that had been missing in Faune. The gentle opening passages seemed to begin
where the Prélude had left off. Hindoyan was more animated and communicative, even in
the softer passages, getting much more from his orchestra. The brass articulation was not
as clear as it could have been, but it did not detract from the refinement of the sound in the
climactic moments.

In Play of the Waves the sense of perspective Hindoyan was trying to emulate became
clear, especially with the balance of percussion — attempting to create a 3D musical image
in the mind’s eye. Sadly, the overly subtle percussion was almost inaudible at times.
The Dialogue of the Wind and the Sea was full of colour, but lacked the darker intense hues
to make this moderate-to-rough rendition a gale force performance. One could not fault the
quality of the orchestral playing and the balance of woodwinds and strings especially, which
was highly commendable, made for a pleasing rendition overall.

After the lustful Faune that opened the concert, redemption was at hand in the second half.
A smaller orchestral formation was deployed for Puccini’s early Messa di Gloria. Whilst the
Royal Liverpool Philharmonic Choir appeared modest in number for a symphony chorus,
they delivered quite the punch. Taking the rein was guest chorus master Ellie Slorach who
had obviously trained the choir well. Their diction throughout was mostly excellent, with just
occasional lapses in the contrapuntal sections of the Gloria and at moments in the Credo.
Their clarity of consonants otherwise was clean, clear and precise.