In celebration of the birthday of Her Majesty Queen Sirikit the Queen Mother, the Royal Bangkok Symphony Orchestra (RBSO) once again entertained an appreciative audience at Thailand Cultural Centre (TCC) on Aug 15.
Only their third major appearance since the easing of Covid-19 restrictions, it was indeed remarkable that the players managed to maintain their well-respected levels of musicianship through these quiet, challenging times. Collectively, the RBSO is sounding as good now as it has ever has -- a real achievement and indicative of an unusually high degree of determined professionalism.
Opening with one of the truly great curtain raisers, Borodin's scintillatingly brilliant Overture To Prince Igor, rock-solid tuba player Teerapat Dacha had the considerable responsibility of initiating proceedings -- blending in perfect unison alongside four horns and delicate timpani drum roll -- with a brooding low A-natural in the very depths of the orchestral register. The work, conducted by the ever more assured RBSO resident conductor Vanich Potavanich, contained a plethora of inventive features and certainly ticked all of the right boxes in terms of what an ear-catching overture should deliver. Smoothly performed, an outwardly expanding legato string, clarinet and bassoon lines evoked very clearly a solemn A minor chorale as one might hear from a church organ. This led to an immense eruption of energy featuring searingly etched suspended fourth harmonies as the full forces of the RBSO impressively galvanised in a veritable D major firework display of orchestral showmanship.
Immaculately tuned pairings of woodwind instruments reminded the audience just how much things have improved in this department over recent years, with principal flautist Teerat Ketmee, in particular, a continuous joy to listen to. Likewise, Supreeti Ansvananda's 2nd subject horn theme was an absolute model of admirably calm, controlled playing. An overwhelmingly joyous, sweeping 1st/2nd violin melody in octaves was supported by a warm and rich sounding counterpoint in the violas with the cello section subsequently revelling in their high-register thumb-position for the return of the 2nd subject. Perky, insistent ostinato dotted rhythms were given pinpoint clarity in the woodwind, whilst the rousing coda conclusion was suitably dramatic, with forceful downward chromatic voice-leadings interestingly foreshadowing in no small way the sound world of a future masterpiece -- Saint-Saëns' Organ Symphony.
The Queen Mother Concert RBSO
RBSO principal cellist Apichai Leamthong then took centre stage for an assured and competent interpretation of Haydn's tuneful Cello Concerto In C Major. A very seasoned performer and certainly one of the most eminent Thai classical musicians active today, his focused tone maintained an attractive singing quality throughout, necessary for this cheerful and vibrant style. In a sense, the purist of all keys as it were at the centre of the tonal universe, C major can be unforgiving at times in regards to intonation, but on this occasion, it was most pleasing to hear Haydn's simple yet affecting harmonic structure delivered with robust tidiness. Apichai's cool composure was also evident as he surely added considerably to his already high reputation in Thailand.
The RBSO itself was reduced to outwardly small dimensions in the context of the overall orchestral expanse of this concert and the defined crystalline phrases of the Classical style were immediately on display. In particular, it is absolutely essential that often repeated passages in the tapestry of the orchestral accompaniment are varied at least to some extent each time, so as to keep the alert attention of the listener. Reverting from larger forces to a much smaller, intimate group, is never an easy adjustment. Rather it is inversely demanding for what is now in fact a chamber orchestra -- an even higher level of attention is required for clean performance. For the most part, the orchestra maintained an adequately tight ensemble.
Mussorgsky's monumental Pictures At An Exhibition in its glorious orchestration by Maurice Ravel (it was originally conceived as an epic piano solo), brought back the full forces of the RBSO for a tremendously enjoyable feast of music-making following the intermission. Vanich was most certainly in his element for this great warhorse of the repertoire and steered the RBSO quite masterfully in the seemingly endless tempo changes. The orchestra presented extremely convincingly the mysterious atmosphere surrounding the successive pictures -- once again, the togetherness of ensemble continues to be one of RBSO's most laudable traits.
New social distancing measures notwithstanding, what an immense relief it is to see normal live music-making return with increasing regularity and confidence to our beloved stages in Bangkok.
Even if the TCC is only permitted a sold-out 25% audience capacity for the foreseeable future, the notion of a culturally healthy mega-city attempting to survive for any significant length of time without the oxygen of high-quality music-making is simply unthinkable. The RBSO's re-established 2020 season is to be much applauded.
