Bizet’s Carmen Suite – Usher Hall

Strings, percussion, and a little mountain magic, but no conductor, and sometimes I notice.

The NFM Leopoldinum Orchestra from Wrocław brings a conductor-free evening to the Usher Hall tonight, led from the violin by their artistic director Alexander Sitkovetsky. No figure in tails waving a baton tonight, just Sitkovetsky steering the ship from within. Apparently, that’s perfectly normal in the chamber-orchestra world, but for those of us used to the “point and wag” approach, it takes a moment to adjust.

The first half gives us Grażyna Bacewicz’s Concerto for String Orchestra, brisk, crisp, and with some feisty edges, followed by Strauss’s Metamorphosen, a more reflective and sombre piece that seems to hang in the air. Both benefit from the precision and democratic energy that comes from the players listening as much as leading.

After the interval comes Wojciech Kilar’s Orawa, which, for me, is the real thrill of the evening. Inspired by the highland borderlands between Poland and Slovakia, it starts in a slow, steady murmur and builds, layer upon layer, until it’s racing along like a runaway train. The players divide left and right in a kind of orchestral “duelling banjos”, tossing phrases back and forth with increasing speed and intensity. By the end, I half-expect steam to be rising from the bows.

Then comes the headliner, Rodion Shchedrin’s Carmen Suite. A familiar name but not the usual Bizet, this is re-orchestrated for strings and percussion only, the brass politely excused for the evening. The result is lithe and rhythmically sharp, but at times a little thin, missing the depth and warmth that the blowers can bring. Still, the famous melodies dance out brightly enough to keep the audience smiling.

Programming-wise, it feels like an odd choice to put Orawa before Carmen, as Kilar’s piece feels like a natural climax. In comparison, the Suite, while fun and full of character, doesn’t quite have the same sense of arrival, more like a lively encore than the main event.

All told, it’s a stylish and well-played evening, though not without its limitations. The conductorless format gives a certain freshness, and Orawa is a genuine highlight worth the ticket alone. But the Carmen Suite, for all its sparkle, leaves me wishing for a bit more heft in the sound.

Reviewer: Greg Holstead

Reviewed: 10^th August 2025

North West End UK Rating: