While much of Europe was glued to the Eurovision Song Contest, Liverpool offered its own musical spectacle at the Philharmonic Hall – and if the city had a jury, this concert might well have earned its own douze points.
The evening opened with Fandangos by Puerto Rican composer Roberto Sierra, a vibrant and rhythmically charged piece that immediately set a cosmopolitan tone. Sierra, known for blending Latin American musical idioms with contemporary classical techniques, delivered a work full of colour and flair. The muted trumpets added a smoky, mysterious texture, while Helena Mackie’s agile oboe lines danced effortlessly above the ensemble. Tom Lessels’ velvety bass clarinet added depth, and the piece ended with a flourish that drew enthusiastic applause. It was a bold and brilliant opener, full of character and contrast, and a reminder of how orchestral music can be both playful and profound.
Next came the centrepiece: Edward Elgar’s Cello Concerto in E minor, performed by Spanish cellist Pablo Ferrández. Still in his early 30s, Ferrández has already built a reputation as one of the foremost cellists of his generation, with performances alongside major orchestras across Europe and the U.S. His interpretation of Elgar’s introspective masterpiece was both technically assured and emotionally resonant. The faster movements were taken at a brisk pace, but Ferrández’s lightness of touch ensured clarity and elegance throughout. The orchestra, under the baton of Domingo Hindoyan, provided punchy brass and lush string textures, capturing the quintessentially English melancholy that defines Elgar’s late style.
For an encore, Ferrández offered the Sarabande from J.S. Bach’s First Cello Suite. It’s a familiar choice, but in this context, it felt like a moment of shared intimacy. The hall was utterly silent – not a cough, not a shuffle – as if the audience was collectively holding its breath. A cliché, perhaps, but you really could have heard a pin drop.
The final work of the evening was Rachmaninov’s Symphonic Dances, a piece that reflects the composer’s nostalgia and displacement during his final years in the United States. It’s a challenging work for any orchestra, but the Royal Liverpool Philharmonic rose to the occasion. Notable highlights included a silky and expressive alto saxophone solo from Carl Raven and haunting cor anglais passages by Drake Gritton. The ensemble navigated the shifting moods and complex rhythms with confidence and flair.
The final movement’s use of the Dies Irae theme – a musical symbol of death and fate – added a dramatic edge. While the UK’s Eurovision hopes may have ended in doom (with nul points from the public vote), this performance was anything but a disappointment. And with music spanning Puerto Rico, England, Germany, and Russia, the evening was a true celebration of international artistry.
On a night when Europe was watching pop performances and pyrotechnics, Liverpool quietly reminded us of the enduring power of live orchestral music.
Reviewer: Mark Humphreys
Reviewed: 17th May 2025
North West End UK Rating: