Stage presence captivates
Christopher’s Classics Natalia Lomeiko (violin), with Kirsten Robertson (piano). The Piano
Drawn from the late romantic era, the programme was a passionate powerhouse from start to finish and Natalia Lomeiko’s captivating stage presence held one’s attention throughout.
Always demonstrative and animated in her playing, Lomeiko communicates everything she possibly can about the music. The skill with which she sweeps the most difficult of music aside is quite remarkable.
No less amazing is her ability to tackle piece after piece that require the utmost mastery with no apparent signs of fatigue. Strauss’ Violin Sonata in E flat major was a case in point. Its emotional demands were a joyous outpouring and an intense, highoctane showcase of violin technique. I overheard one audience member comment that his fingers felt tired just watching Lomeiko.
Many of the piano accompaniments contained passages that rivalled the complexity of the acrobatic solo violin part and Kirsten Robertson did a splendid job of supporting in that role and stepping up when needed.
The Debussy Sonata for Violin and Piano was a sound opener, subtle but with flashes of brilliance. I enjoyed the treatment of the insistent ostinato motif in the central movement and the declamatory outbursts and impressionistic surges that the duo conveyed in the finale.
Lomeiko had the stage to herself for Ysay¨ e’s Violin Sonata No 4 in E minor, a work full of interest and event, from the arresting start to the fiery conclusion.
I particularly enjoyed the precision and even weight Lomeiko gave the double stopping as the single line evolved into a multi-layered texture and the immaculate pizzicati.
Rounding it all off were Brahms’ Scherzo from the composite F-A-E Sonata collaboration with Schumann and Dietrich, and Elgar’s Salut d’Amour, the former providing the final flourish, the latter a soothing palette-cleanser.
– Patrick Shepherd