The Orquesta Sinfónica del Principado de Asturias (OSPA) delivered a performance on Friday, February 20th, at the Auditorio Príncipe Felipe in Oviedo, showcasing works by Gabriela Ortiz, Clara Schumann, and Pyotr Ilyich Tchaikovsky. The concert, titled ‘Pasión y melancolía,’ drew a notably large audience, continuing a recent trend of increased attendance at OSPA performances, particularly at the Oviedo venue.
The evening featured pianist Martín García García as a soloist, collaborating with the OSPA under the direction of Nil Venditti. García, a native of Gijón and a prize winner at the 2021 International Chopin Piano Competition, is a frequent collaborator with the orchestra and considered a leading figure in classical music within the Principado of Asturias.
The program commenced with “Clara,” a piece by Mexican composer Gabriela Ortiz. This function, receiving its Spanish premiere, explores the artistic and personal relationship between Clara Wieck and Robert Schumann. The performance highlighted the orchestra’s string section, particularly the concertino Jordi Rodríguez, and the precision of the percussion, creating a textured and dynamic soundscape. Venditti’s conducting effectively built crescendos, engaging the audience despite the contemporary nature of the piece, composed within the last five years.
Following “Clara,” the OSPA performed Schumann’s “Overture, Scherzo and Finale in E major, Op. 52.” Venditti guided the orchestra with a focus on phrasing and intuitive gestures, maintaining a balanced volume and allowing the woodwinds to shine. A minor issue with the brass section during the second movement did not detract significantly from the overall quality of the performance.
The second half of the concert was dedicated to Tchaikovsky’s “Piano Concerto No. 1 in B-flat minor, Op. 23.” García’s interpretation emphasized the lyrical qualities of the concerto, incorporating subtle rubato in coordination with the OSPA. His precise technique and expressive playing style offered a nuanced reading of the work, moving away from purely virtuosic displays. Venditti prioritized a cohesive sound from the orchestra, supporting García without overpowering his performance.
As an encore, García performed Claude Debussy’s “Prélude No. 5, Bruyères,” offering a delicate and subtle interpretation. The performance was enhanced by the venue’s lighting and García’s skillful use of the piano’s pedal.
During the concert, several members of the audience approached the stage to greet Venditti, a practice she appeared to welcome, though some observers suggested a more formal approach to post-performance interactions might be considered.
