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Violin recital by Midori

Cultural Centre Concert Hall

Japanese violinist Midori  has had no shortage of fans since her impressive debut in 1982 - at the age of 11 - with the New York Philharmonic. But  even diehard supporters would frown over the first half of her performance.

Pianist Peter Vinograde's attacks on the Steinway during the Wednesday recital in the Cultural Centre all but drowned out the thin tones Midori produced on her 1734  Guarnerius del Gesu  instrument.

Fortunately, she picked things up with some profound Bach playing during the second half and then tossed off a few showpieces with spectacular ease and better balance with Vinograde.

The first half consisted of sonatas for violin and piano by Beethoven (his No3) and Franck. Midori's weak-toned performance was fluently cool in the Beethoven, while the passion she conveyed in the Franck was a tad calculated.

Vinograde's performance  began with some juicy phrases, but later sank into workmanlike blandness.

Although the pair achieved agile effects together in the last movement of the Beethoven, they never showed any true chemistry.

When Midori played Bach's second sonata for unaccompanied violin at the beginning of the second half, her silvery tone was finally restored to full glory. She adopted slow tempos, as if to ponder delicately every contrapuntal line and every nuance in the music, bringing forth much contrast and clarity. The fugue was especially probing while the andante highlighted her ability to sustain a line beautifully at whispering dynamics.

Rautavaara's Dithyrambos  and Szymanowski's Nocturne and Tarantella   followed, with an arrangement for violin and piano of the Entr'acte  from Galzunov's ballet, Raymonda, in the encore.

Midori executed these with immaculate technique and enthusiasm;  her interpretation was  not over the top.

Her sparing use of vibrato added to this slightly detached style, but fans would just adore it, of course.



Profound performance marred by poor chemistry with pianist