The Australian Brandenburg Orchestra (ABO) compliments their talented musician’s artistry with guest soloists, many of whom fall into the realm of being masters of music as indeed is Russian born violinist, countertenor and guest director Dmitry Sinkovsky (b.1980).
From the early days of his ‘brilliant career’, Dmitry Sinkovsky has been a phenomenal musician, wowing audiences on the world stage with both drama and delight.
A former brilliant student of the Moscow Conservatory where he has also been teaching since 2005, Sinkovsky plays a high quality gut string Francesco Ruggeri violin made in Cremona in 1675.
On loan from a generous benefactor, admired for its rich blend of pleasing overtones and beauty of appearance, he brought it to Australia for his concerts Dmitry Sinkovsky: The Singing Violin with the ABO from July 26 in Sydney, Melbourne and finally Brisbane, on Tuesday evening August 8, 2017 at QPAC.
Charisma plus Dmitry Sinkovsky, supported brilliantly by his ABO musician colleagues, dazzled the Melbourne audience with energy, vitality and sensitivity when playing in the acoustically wonderful Elizabeth Murdoch Recital Hall in Melbourne on Saturday evening 5 August 2017.
It was truly an experience of the sublime that everyone present will long remember.
Dmitry Sinkovsky played at the top of his game, giving one of those performances that you feel compelled to record in your diary so you will be able to say later “I was there”.
During his first visit with the ABO in 2014 Dmitry Sinkovsky had exalted art and re-defined creative genius. His ability to both sing and play with extraordinary eloquence gained him many admirers and followers. They were all there again along with many newbies, as he performed once more with energy and enthusiasm.
A masterful program of violin solos and other instrumental works some known, some very rare, were brought together with style in Melbourne by Dmitry Sinkovsky with artistic director Paul Dyer and musicians of the ABO.
To start ABO musicians played a wondrous Ciaccona from Concerto for four violins in D Major Op. 26, No 3 by the French composer Jacques Aubert (1689-1753), which was redolent of the works you would have admired and enjoyed at the court of Versailles
Vivacious, vibrant and bright this luscious confection, highlighted by some exquisite playing and strumming by Jamie Hey on Baroque Cello, exhibited both flowing rhythm and integral elegance.
It was like a delicate palette of colours reflecting the joie de vivre, or joy of life, which became a hallmark of a circle of intimate friends during the age of the Baroque (1600-1750) in music, providing a perfect start.
Then onto the stage strode Sinkovsky to play a concerto for violin by Georg Phillip Telemann (1681-1767) a wonderful vehicle for those who love virtuosity, display and ornamentation.
It perfectly showcased his beauty of style. The Allegro, the final of four movements knocked our socks off.
You could have heard a pin drop, such was the glory of it all.
The ABO then played the first of the works by Italian composer Antonio Vivaldi (1678-1741) featuring the fabulous and very difficult to play Baroque French Horns of Darren Poulson and Doree Dixon, ensuring we all felt as we were about to mount our horses and ride off to hunt.
Surprisingly in the middle there was a truly luscious Largo. Played by Tommie Anderson on Theorbo and Jamie Hey on Cello with passion and lyricism, it was all at once delicate, poetic and delightfully decorative.
Before interval Dmitry Sinkovsky strode back onto the stage and with a toss of his glorious tresses, presented a work of three movements by Jean-Marie Leclair (1697-1764) that had at its centre a heart-rending Adagio.
Leclair had a reputation for composing works with a heavenly connotation, while the composer whose two works played after intermission Pietro Locatelli (1695-1764), was thought to have ‘played like a devil’.
Sinkovsky played Locatelli’s six movements of his Concerto Grosso in fine style. It was filled with many breath holding moments and the passionate pursuit of beauty of sound the Italians enjoyed.
For me it was all about the lightness of his touch, providing a multitude of achingly beautiful moments during the ‘theatrical introduction to a work by Locatelli published in 1735, which was in Sinkovsky’s hands, breathtaking.
The program was all instrumental and those hoping Sinkovsky would sing had to wait until the encore, when he gave us a truly incredible rendition of London based German composer George Frideric Handel’s truly glorious Dove sei, amato bene from his opera Rodelinda.
It was more than well worth the wait, as Dmitry Sinkovsky’s voice resonated with the ‘crystal-clear intonation’ it is renowned for.
A wondrous choice to end a stunning evening on a superlative high note, this lovely aria suited his countertenor vocal range to a tee, giving Dmitry Sinkovsky an opportunity to embrace some incredibly exquisite phrasing with great pathos; implying so much more than simple emotion.
He thrilled the completely hushed hall and the moment it came to an end the audience immediately rose to their feet enthusiastically, showcasing their pleasure by giving Dmitry Sinkovsky and the ABO a well-deserved standing ovation.
Dmitry Sinkovsky: The Singing Violin was an exceptional evening of pure Baroque magic, one my companion and I will long remember – we were there!
Carolyn McDowall, The Culture Concept Circle, 2017
Aubert Concerto for 4 violins Ciaconna in D Major Op26 no 3
Telemann Concerto for Violin per Sign Pisendel in B flat Major
Vivaldi Concerto for two Horns RV 538
Leclair Concerto for Violin Op.7 No.2 in D major
Locatelli Concerto Grosso Il Pianto D’Arianna in E flat Major
Locatelli Introduttioni Teattrali Op 4/5 in D Major
Vivaldi Concerto for Violin in e minor RV 277 Il Favorito