Press
press
14.02.2026
Russian pianist Polina Osetinskaya, conductor Gabor Takacs-Nagy delight audiences with Bach and Schumann
Photo by Yoricko Liu
Hungarian conductor Gabor Takacs-Nagy performed a programme of Bach and Schumann.
Victoria Concert Hall
Hungarian conductor Gabor Takacs-Nagy stepped in for an unwell Mario Venzago, but the programme of two J.S. Bach keyboard concertos and Robert Schumann’s Symphony No. 2 remained, surely to the delight of the audience, eager to hear the Singapore Symphony Orchestra (SSO) take on music of a relatively smaller scale.
Russian pianist Polina Osetinskaya was last heard at the Victoria Concert Hall in a recital with violin superstar Maxim Vengerov. Memories of her superb touch, tone and impeccable musicianship still remain fresh.
Throughout the Bach concertos, Osetinskaya played with precision and elegance, making the 2.7m Steinway sound as nimble as a finely tuned harpsichord the composer would have expected in his day.
Victoria Concert Hall
Hungarian conductor Gabor Takacs-Nagy stepped in for an unwell Mario Venzago, but the programme of two J.S. Bach keyboard concertos and Robert Schumann’s Symphony No. 2 remained, surely to the delight of the audience, eager to hear the Singapore Symphony Orchestra (SSO) take on music of a relatively smaller scale.
Russian pianist Polina Osetinskaya was last heard at the Victoria Concert Hall in a recital with violin superstar Maxim Vengerov. Memories of her superb touch, tone and impeccable musicianship still remain fresh.
Throughout the Bach concertos, Osetinskaya played with precision and elegance, making the 2.7m Steinway sound as nimble as a finely tuned harpsichord the composer would have expected in his day.
Photo by Yoricko Liu
The modern pianoforte, of course, has dynamic range and an ability to sustain the sound completely, unlike a harpsichord, so the soloist has myriad options on how to voice the solo part. Osetinskaya opted for a light, but highly percussive touch in the fast, outer movements, which worked perfectly well.
The two Bach keyboard concertos that she picked - Baroque masterpieces that are considered among the earliest prototypes for the night's piano and large orchestra - were a fascinating, natural complement to the early Romantic Schumann Symphony No. 2 to come in the second half.
Takacs-Nagy directed a suitably scaled-down SSO, whose part was almost chamber-like. They sometimes shared the main lines with the keyboard, while playing contrapuntal (alternating, independent) lines at other times. In other instances, they provided threadbare accompaniment or simply left the soloist to play alone.
The two Bach keyboard concertos that she picked - Baroque masterpieces that are considered among the earliest prototypes for the night's piano and large orchestra - were a fascinating, natural complement to the early Romantic Schumann Symphony No. 2 to come in the second half.
Takacs-Nagy directed a suitably scaled-down SSO, whose part was almost chamber-like. They sometimes shared the main lines with the keyboard, while playing contrapuntal (alternating, independent) lines at other times. In other instances, they provided threadbare accompaniment or simply left the soloist to play alone.
Photo by Yoricko Liu
The concert began with the Concerto No. 5, BWV 1056, which has an elegant, dance-like theme. Sooner than expected, the work transitions to the slow movement, which has one of Bach's most memorable melodies. Marked "Largo" (broad and slow), it is customarily performed as a more flowing Aria (extended song).
Osetinskaya played the solo line most beautifully, and the SSO's gentle pizzicato accompaniment led by Takacs-Nagy made the movement a highlight of the first half.
The SSO's accompaniment was also up to the mark, apart from minor ensemble issues in the second and final movements of the second concerto - No. 1, BWV 1052.
Perhaps the repeat performance on Feb 14 will see even more verve and sprite, but this was a highly enjoyable Bachfeast with Osetinskaya, Takacs-Nagy and the SSO.
Osetinskaya played the solo line most beautifully, and the SSO's gentle pizzicato accompaniment led by Takacs-Nagy made the movement a highlight of the first half.
The SSO's accompaniment was also up to the mark, apart from minor ensemble issues in the second and final movements of the second concerto - No. 1, BWV 1052.
Perhaps the repeat performance on Feb 14 will see even more verve and sprite, but this was a highly enjoyable Bachfeast with Osetinskaya, Takacs-Nagy and the SSO.
Photo by Yoricko Liu
Takacs-Nagy provided a greatly appreciated commentary on Schumann - his manic depression, the torment of his "bad" days and his enduring love for Clara Wieck Schumann - which provided important background to his complex yet accessible Symphony No. 2.
Takacs-Nagy had already shown clearly that he could muster great rhythmic accuracy from the SSO, and his ideas and intent were present throughout the symphony.
Schumann's contrasting alter-egos - his "Florestan and Eusebius" - are evident, although their appearance is not so extreme in this work.
The symphony ended with a highly uplifting final movement, as if Shumann's demons were finally expelled. There were many positives about SSO's performance under Takacs-Nagy. His direction provided clear direction and brought a gratifying close to an evening of contrasting, colourful music.
By Mervin Beng for Straitstimes.com
All materials of the “Press” section →
Takacs-Nagy had already shown clearly that he could muster great rhythmic accuracy from the SSO, and his ideas and intent were present throughout the symphony.
Schumann's contrasting alter-egos - his "Florestan and Eusebius" - are evident, although their appearance is not so extreme in this work.
The symphony ended with a highly uplifting final movement, as if Shumann's demons were finally expelled. There were many positives about SSO's performance under Takacs-Nagy. His direction provided clear direction and brought a gratifying close to an evening of contrasting, colourful music.
By Mervin Beng for Straitstimes.com
All materials of the “Press” section →