Classical review: RSNO: Naked Classics, Usher Hall, Edinburgh

TO STRIP a piece of orchestral music to its bare bones takes a certain type of skill.

With the combined talents of presenter Paul Rissmann, conductor Thomas Søndergård and the RSNO on exceptionally good form, Prokofiev’s ballet music for Romeo and Juliet wasn’t only dissected into chunks that exposed its inner-workings, but put back together again to be heard in full and fresh perspective at the Usher Hall.

Taken apart rather lovingly, both appropriate to the piece and the week that celebrated St Valentine, Romeo and Juliet is a score that possibly works better than most for such treatment. The unfolding drama of Shakespeare’s tragedy lent itself to Rissmann’s style of gently humorous and non-patronising explanatory chat, cleverly constructed visuals on a large screen above the orchestra and even the odd contemporary reference to, for instance, The Apprentice (its theme tune) and Taggart (the stabbings). Even the audience participation wasn’t too painful.

If anything, the nakedness of a classic was too drawn-out and a longing for a fully dressed Romeo and Juliet was well met by Søndergård’s interpretation of it in the second half. Recently appointed principal guest conductor of the RSNO, one can only look forward to his visits with positive anticipation. Unleashing the full power of the orchestra to expertly judged limits, whether in dynamics, tempi or emotional charging, he seems to have established a strong and responsive rapport with the players in a relatively short period of time.

Rating: ****