Davide Scarabottolo (piano) dazzles with Chopin, Liszt and Stravinsky, in a live, London recital
Today, Friday 5th April 2024, I attended the Regent Hall Friday Lunchtime Concert Series (275 Oxford Street, London, W1C 2DJ). At the Regent Hall, there is a lunchtime concert at 1 p.m., every Friday. Today’s performer was the Italian pianist, Davide Scarabottolo. The programme of the recital was as follows:
CHOPIN:
Nocturne No. 20 in C sharp minor, Op. Posth.
Ballade No. 4 in F minor, Op. 52
***
LISZT:
Grandes Etudes de Paganini, S. 141
No. 3 in G sharp minor (Allegretto) La Campanella
No. 4 in E major (Vivo) Arpeggio
No. 6 in A minor (Quasi presto, a capriccio) Theme and Variations
***
Transcendental Etudes
No. 4, Mazeppa
No. 12, Chasse-neige
***
STRAVINSKY, arr. Agosti:
Three Movements from The Firebird
Infernal Dance, Lullaby, Finale
The performance of the Chopin Nocturne was beautiful and understated, with Mr Scarabottolo displaying a very warm, even tone, with beautiful dynamics and well-measured tonal colours in his playing. His phrasing was expressive, and very communicative, as if he was talking to the audience with every phrase. He was also very patient in his playing, with a good sense of spacing, letting the music talk without rushing it into doing so.
The Ballade continued in the same vein, with a quiet, introvert tone in Mr Scarabottolo’s playing, drawing the audience in, rather than projecting to them. This was playing that often strayed into the magical and the mesmerising. After a quiet start, the sound soon started to fill the hall, and the introvert style soon gave way, as Mr Scarabottolo seemed to “come out of his shell” in the stronger passages of the piece. There could have been a little more dynamic contrast, perhaps, at the beginning of the piece; but the stronger passages, towards the end, more than made up for any initial possible tentativeness on Mr Scarabottolo’s part. The technique itself, in the meantime, was impeccable, with every note crystal clear.
Onto Liszt, then, and La Campanella. This famous, virtuosic piece based on a slow movement by Paganini was here interpreted in a lyrical manner. Was this perhaps on a slower side than I am usually used to hearing it at? Regardless, this was a clear, coherent interpretation - with the technical aspect as impeccable as ever, and with the musical side of this piece well brought out, too.
The Arpeggio Etude, based on Paganini’s First Caprice for Solo Violin, was sparkling clear, as it must be. I particularly enjoyed how Mr Scarabottolo brought out the left hand melodies. Beautiful.
The Theme and Variations Etude, based on Paganini’s last, Twenty-Fourth Caprice for Solo Violin, was truly excellently played and interpreted, from the lyrical to the virtuosic.
The Trascendental Etudes soon followed. In the Mazeppa (Etude No. 4), I particularly enjoyed how Mr Scarabottolo brought out the B flat major section’s left hand melodies. I would have liked a little more dynamic contrast, perhaps, but the spacing in the slow sections was truly excellent.
The Chasse-Neige (Etude No. 12) was nothing short of stunning, with wonderful dynamic range and great communication from the pianist to the audience.
Mr Scarabottolo closed the official part of the recital with Three Movements from The Firebird by Stravinsky (arranged by Agosti). In the first one (Infernal Dance), I enjoyed the lyricism that Mr Scarabottolo brought in its slower sections, but I did think that the melodic lines were less clear than in the previous works, and I wished for a little less flashy virtuosity here, and more contrast in the colours. Small quibbles, and surprising ones, given how much I enjoyed the whole recital, up to this point. However, the second movement (Lullaby) brought Mr Scarabottolo back to his best, with the final, harmonic section which is played in tremolos in the strings, in the original, orchestrated version of the ballet, beautifully shimmering. The Finale, itself, was truly excellent, in every way.
Receiving a standing ovation from a full house, Mr Scarabottolo then treated us to a number of encores, including Chopin’s Nocturne in E flat Major, and an original composition. The Chopin was simply extraordinary, Mr Scarabottolo leaving any hint of excessive virtuosic flashiness at the door, and treating us to a sensitive interpretation, full of tonal and dynamic colours - one of my favourites of the entire concert - while the rest of the encores were a pure triumph, combining technique with musicality to devastating, exceptional effect.
Mr Scarabottolo is only 22, still. Considering his age, the level that his piano playing has reached is quite astounding. His technical command is not in doubt, and he has shown us (not least in the Chopin pieces) that he has incredible musicality, too. I hope, in future, to hear more of his musical side, without detriment to the technical - simply because his technique is already there, without a doubt, whereas musicality matures all the time in life, at any age. This was, nevertheless, an excellent recital in every way - I very much enjoyed hearing Mr Scarabottolo play, and look forward to hopefully hear how this extremely promising musician’s career develops. In the meantime, a very much deserved "bravo".
