The encore pays homage to her homage: Diana Adamyan plays an Armenian song by the composer Komitas Vardapet, sensitively and with an intense violin tone, just as she has played Mendelssohn’s violin concerto before. Adamyan is 21 years old, she is still studying in Munich, but her interpretation tells of her early maturity. How she creates the lyrical moments of the romantic virtuoso piece, with enormous intensity and self-confident phrasing, that captivates the audience’s attention at this “Debut in Deutschlandfunk Kultur” on Sunday evening in the Philharmonie. Flirting with the audience is not her thing, even in the finale, despite all the sparkling dexterity, she never becomes cheeky, let alone daring. Diana Adamyan seems to be playing for herself first and foremost – and it is a wonderful privilege for the rest of the audience to be able to listen.
With Selina Ott everything sounds effortless
Selina Ott then appears more offensive, letting her instrument shine splendidly in the trumpet concerto by Frenchman Alfred Desenclos. Which of the many artistic skills that are included here is the most delicate to master can only be assessed by brass professionals – with the Austrian, born in 1998, however, everything sounds equally effortless. Chapeau.
The third woman in the league on this “debut” evening with the German Symphony Orchestra is the conductor Ruth Reinhardt. She has picked out two rarities from the repertoire, Mussorgsky’s fragrant, sonorous prelude to the opera “Chowanschtschina”, in which she fully trusts the woodwind soloists and concentrates entirely on rolling out a finely woven sound carpet for them, as well as Hindemith’s much more robust “Concert Music for String Orchestra and Brass “. This work, written in 1930 for the Boston Symphony Orchestra, seems to evoke the dark side of industrialization. The musicians of the DSO get involved in the austere modernity, play with sharp-edged precision, and Ruth Reinhardt earns a lot of applause for this unusual selection of works.
