Erocia – Royal Liverpool Philharmonic

‘Dazzling’ was the first word that came to mind as Veronika Eberle played Beethoven’s violin concerto with the RLPO last night, but others, such as ‘breathtaking’ and extraordinary’ were not far behind. Despite an initially poor reception at its premiere in 1806, Beethoven’s concerto has since been acknowledged as one of the greatest pieces for the instrument. The orchestra, under Hindoyan’s direction, from the delicacy of the first five beats of the timpani to the final dramatic conclusion moved seamlessly from the tension of the rising scales to filigree lightness in the quieter sections, highlighting the relationship between orchestra and soloist. Eberle more than does justice to the music’s melodic lyricism with a tone that is both pure and warm and a virtuosity that, while demonstrating her remarkable technique, allows the music to shine through.

Of particular note in this concert was the incorporation of the cadenzas that Eberle commissioned Jorg Widmann to compose. Cadenzas present the soloist with the opportunity to display their technical mastery of the instrument, and Eberle, accompanied by the timpani and double bass in the Allegro ma no troppo and the Rondo and by the first violin in the Larghetto, displayed the brilliance of her playing while never letting technique dominate her intense musicality. While some may feel that this more modern evocation of Beethoven’s themes and the break with classical tradition clashes with rather than enhances Beethoven’s music, the extended standing ovation Eberle received leaves little doubt that last night’s audience were definitely in favour. For an encore, the audience were then treated to Eberle and the first violin playing the No. 43 Pizzicato from Béla Bartók’s 44 Duos for 2 violins, Sz. 98.

The Eroica symphony after the interval was another superb performance by the orchestra. The bright harmonies and rhythms and the wide dynamic range of the first movement (Allegro con brio), with waves of sound and falling scales, were followed by the poignant solemnity of the Marcia funebre with almost fugue-like interaction between the different sections of the orchestra, the tick-tock of the cellos, and the soaring oboe. Hindoyan managed to convey the sense of grief while adroitly keeping the tempo steady and avoiding any descent into a dirge. The orchestra showed the breadth of their playing with the contrasting rustic joy of the Scherzo while in the glorious Allegro molto of the fourth movement, the music ebbed and flowed while increasing in drama and intensity until the final chords.

This concert will be repeated on 23^rd March 2025 at 2:30 pm.

Reviewer: Johanna Roberts

Reviewed: 20th March 2025

North West End UK Rating: