Babayan, Trifonov g ive spectacular performance
Troy Chromatics opened its 123 rd season on Sunday afternoon with a ravishing and memorable duo recital of the pianists Sergei Babayan and Daniil Trifonov at the Troy Savings Bank Music Hall. From 2009 to 2015 Trifonov was a student under Babayan at t he Cleveland Institute of Music. In the intervening years Trifonov, now 28, rose to international fame, hailed as an astonishing ta lent. His appearance in Troy marks one more distinction in t he Chromatics long history.
The last time a couple of high profile pianists teamed up here was the joint appearance of E manuel Ax and Yefim Bronfman in 2008. Though good friends, they were two distinct personalities out to have some fun together and their search for common g round sometimes came through in their performances. By contrast, Babayan and Trifonov seemed to be incomplete agreement on their interpretative choices, a natural result of their long relationship.
The modest opener was Schumann’s And ante and Variations arranged by Babayan. It began and ended with lilting texture sand during most of the short variations themes bounced back and forth between instruments.
Big things followed with Babayan’s version of 12 movements from Prokofiev’ s “Romeo& Juliet ,” Op .64. The prologue was appropriately grand and surging, touching on some themes that otherwise got left out from Babayan’s edit. The pianists handled all of the succeeding court ly elegance and intricate duels with ease and grand style .“The Young Juliet” floated and swayed in t he treble with gossamer beaut y and “Morning Serenade” was even more etheric. “The Death of Tybalt ”
brought things to a fierce and surging f ina le.
The highlight of the evening came after intermission with Rachmaninoff’ s Symphonic Dances. Though another staple of the orchestral repertoire, it didn’t feel like a piano version of something else. The opening was given an organic arc hand the central movement had a sonic aura about it that can only come from a piano’ s resonant body. This was music making at a supreme level.
The finale, Ravel’ s“Rapsodie espagnole,” felt surprisingly anticlimactic. The program had dwelt in a mostly lush and reflective realm and the series of Spanish dances felt unnecessary. The same goes for the appearance of percussionist Gabriel Glob us-Hoe ni ch, though he did fine work. The tr io reprised some of t he Ravel as an encore.
When the concert was announced many months ago, it was to have included two percussionists for the Bar to kS on at a. It’ s a pity that the rarely heard piece got scrub bed.
Yet as it turns out, all that was needed for a nourishing and satisfying afternoon was Babayan and Trifonov with a handful of big romantic master pieces.