by Deirdre Donovan

This rock star pianist was a guest performer of New York’s recent event.

“Clear, beautiful, and musical.”  That winking weather forecast in the October 20^th program for the Lyric Chamber Music Society of New York breathed with brilliance as virtuoso pianist Konstantin Soukovetski took the stage with his personal arrangements of operatic scenes from Richard Strauss’ Capriccio, Giuseppe Verdi’s La Traviata, Jules Massenet’s Manon, and R. Strauss’ Four Last Songs.  What’s more, Konstantin was as articulate as he is musically gifted, and turned his piano performance into a master class on the 19^th century composers who created the four selected works.

Konstantin opened with the Countess’ “Monologue” from Richard Strauss’ Capriccio.  This opera, subtitled “A Conversation Piece for Music” is frequently performed as a chamber piece.  And in the soft chandelier-lit room at the Liederkranz Foundation, the salon-like room at this Upper East Side venue enhanced the intimate feel of the monologue.  Konstantin infused the Countess’ solo reverie with poignancy, reflecting her dilemma in deciding which is greater, poetry or music.  Of course, it is a moot question and the real one is who she loves more:  the composer Flamand or the poet Olivier.  At the conclusion of this heart-gripping monologue, Konstantin had the audience leaning in for more operatic gems.

Next up on the program was the Final Scene from Verdi’s La Traviata.  If the former piece was novel to the ear, this one was very familiar—and became the evening’s crowd-pleaser.  Konstantin noted that La Traviata (literally “The Fallen Woman”) was the scandalous opera of its day, as composers typically drew upon mythology and the Greek gods for their inspiration, and not everyday people--or God forbid!--a common prostitute.  Verdi based his non-conventional work on a version of Alexandre Dumas’ novel La dame aux Camelias, which centers on the courtesan Violetta.  Although La Traviata no longer raises eyebrows in the opera world, Konstantin reminded the audience that it still is “soft porn,” as it revolves around the fallen woman Violetta.  Nonetheless, it appeared that the audience had no reservations here in embracing the affecting final scene, where Violetta is dying of tuberculosis.  While there was no operatic star to impersonate the character, Konstantin did an impressive job at evoking her through his immaculate craft at the piano.  Konstantin has acted in the theater and in film, and one could definitely sense the stage actor beneath the skin of the pianist here.

The third musical offering was Konstantin’s own transcription of Massenet’s “St. Sulpice” scene from Manon.  Konstantin has performed this piece at Symphony Space to much acclaim earlier this year.  So it was a real treat to have it reprised in this smaller room.   Konstantin briefly outlined the scene, set in Manon’s and des Grieux’s apartment in Paris.  Then he shared a personal anecdote about the time he recently performed the piece in Paris.  The afternoon of his performance, he decided to listen on his ipod to a recording of the famous scene, complete with a little champagne in one of the city’s picturesque parks.  Going to a local shop to buy the champagne, Konstantin was unexpectedly handed a crystal flute glass by the shop owner as a bonus gift.  He explained that it saved him from imbibing the beverage straight from the bottle and breaking a rule of decorum in the chic-conscious city.  The audience laughed—and Konstantin then launched into the notable piece, and swept us all into that intense moment when Manon makes her decision to go with the nobleman de Bretigny and leave her lover des Grieux.   Konstantin crisply executed the piece, even though its romantic story was a sorry reminder that love triangles are messy affairs indeed.

The program ended with Strauss’ The Four Last Songs.  And, as described by Konstantin, “it is really a long day’s journey into night, and quietly transfixing.”  He preceded his musical performance with a poem, which set the mood and atmosphere for this transcendent piece.  Konstantin then performed the song quartet with effortless transitions from “Spring” to “Dusk.”  There was less romanticism, and more earnestness, in this song cycle.  And it was over all too soon.

There was no doubt that this Russian-born and Juilliard-trained musician made a strong impression on his audience.  This international pianist, who has played at such celebrated New York venues as the Metropolitan Room and Carnegie Hall, not to mention renowned music festivals like “Pianofest in the Hamptons” and others the world over, now could add this latest concert to his growing list of credits.

One doesn’t have to look into a crystal ball to see that Konstantin has a future as a concert pianist.  This artist fuses the classical with the colloquial, and makes opera accessible to a wider audience.  The hour-long concert was followed by a champagne reception, where all were invited to meet Konstantin, enjoy refreshments, and chat about—what else—where does he perform next in New York?

One-night only event, October 20^th.
At the Liederkranz Foundation, located at 5 East 87th Street, Manhattan.

For more information on the Lyric Chamber Music Society of New York, and their upcoming programs, phone 212-496-9927 or visit online www.lyricny.org