Tonight, the Philharmonic welcomed back world-renowned pianist and composer Sir Stephen Hough for a remarkable performance of Rachmaninov’s Piano Concerto No. 1.
However, the concert began with the orchestra playing Francisco Coll’s arrangement of Manuel de Falla’s Fantasia Baetica. Certainly not an easy piece for the piano, with the original dedicatee Arthur Rubenstein complaining that it was too long, Coll’s orchestration, which premiered in 2023, also represents a challenge for the orchestra, with sudden changes in tempo and texture, but it is a challenge the orchestra rose to with the style and flair the piece demands. Indeed, the orchestral transcription retains the fire and flamboyance of the original. The opening castanets set the Iberian tone while throughout there are references to de Falla’s affection for Andalucia, with its roots in Spanish folk songs and the Arabic influence at the heart of flamenco.
Rachmaninov’s Piano Concerto No. 1 moved us from the sunbaked plains of Spain to 20th century Russia. Rachmaninov wrote his first piano concerto at the tender age of 18, but his later revisions, which produced the concerto that we know today, demonstrate how much he had developed as a composer in the interim while keeping the melodies and youthful energy of the first version. Sir Stephen Hough – already a firm favourite with the Philharmonic audience – gave us a compelling and dramatic performance combining technical brilliance with emotional depth, and with a finely judged balance between the orchestra and the solo instrument, so the luscious chords of the former complemented the energy and harmonic clarity of the latter. Once the rapturous applause had died down, we were treated to an encore, with Sir Stephen’s own arrangement of ‘Feed the Birds’ from Mary Poppins.
After the interval, there was further drama as the orchestra played a selection from Prokofiev’s Romeo and Juliet Suite, compiled by conductor Domingo Hindoyan, who ordered the pieces to reflect the narrative of the play and the unfolding tragedy. Though originally written as a ballet score, the performance demonstrated music’s ability to convey both emotion and character, as we moved from the clashing chords of the conflict between the Montagues and the Capulets, the vivacity and youth of Juliet, the lyricism of the lovers’ relationship, and the final tragedy of their deaths. The orchestra conveyed the emotional depth while losing none of the nuance, delicacy, and detail, with outstanding contributions by soloists from every section. Indeed, it served as a timely reminder that a live performance often offers insights that illuminate a piece, however familiar it might seem.
Note: In the interval, Sir Stephen Hough will be signing copies of his memoir ‘Enough’ and CDs will also be on sale.
Conductor: Domingo Hindoyan
Piano: Sir Stephen Hough
Royal Liverpool Philharmonic Orchestra
Reviewer: Johanna Roberts
Reviewed: 27th November 2025
North West End UK Rating: