A world-class performance of J.S. Bach’s masterpiece
Presented by: Adelaide Festival
Reviewed: 15 March, 2024
Despite the facelift currently in progress at the front of the Adelaide Town Hall, the inside of this venue remains a beacon of old world elegance and majesty: the perfect setting to hear a world-class pianist deliver a rare performance of the entirety of J.S. Bach’s celebrated Goldberg Variations. Arguably one of the greatest piano works ever written, the Goldberg Variations is at very least the touchstone of Baroque Music. The work starts with a simple, elegant aria, followed by 30 variations (based on the bass line of the aria, not the melody as you might expect) that range from canons to two-part inventions to popular dance styles of the time such as the gigue and passepied. The magnificent range of variations then comes to a close with a restatement of the original aria. This epic 80-minute cycle of music has been likened to a galaxy revolving around this one aria, an apt description given by Víkingur Ólafsson in his closing words following the performance.
Víkingur Ólafsson is an acclaimed pianist, having multiple albums recorded by Deutsche Grammophon, performed all over the world and on TV and radio. He is particularly known for his performances the Philip Glass Etudes and a number of Bach’s other works. Ólafsson was supposed to come to Australia in 2020, but unfortunately Covid has delayed his visit until now. We are so lucky to finally hear this magnificent performer in action.
Ólafsson’s performance was excellent, showing dexterity, skill, speed where necessary, and a great deal of emotion throughout his performance. The opening aria, though beautiful, seemed a little insecure, perhaps a reflection of nerves, but this was quickly forgotten as gentle moments gave way to brilliant virtuosity in the faster variations. The slow variations in particular really showcased Ólafsson’s control over the instrument, with crystal clear voicing through the counterpoint, delicate dynamic changes, and an emotive rubato. He was able to make the instrument sound like a brilliant fanfare at one moment and a tiny crystal bell the next. It was especially exhilarating to watch Ólafsson in the variations that involved lots of crossing of hands, where he exhibited excellent control and flair.
Although the original work would have been written for harpsichord, Bach’s preferred keyboard instrument of those available to him at the time, Ólafsson, performing on a gorgeous Steinway & Sons concert grand piano, does not limit his performance by playing as one might on a harpsichord. Instead, he uses a full range of dynamics, from the softest of pianissimos to resounding fortissimos, as well as utilising the sustain pedal rather more than one sometimes sees in performances of Baroque works. Ólafsson really honours the contemporary instrument we know and love today, adding a new depth to Bach’s masterpiece.
Some of the faster variations almost seemed a little too fast for this venue — the Adelaide Town Hall has a lot of hard surfaces and therefore contains a lot of reverb, which meant that clarity of some of the stunning fast passages was lost. However, this is a small niggle that relates to a familiarity of the venue as much as anything, and if the standing ovation is anything to judge by, the audience adored the performance.
Unfortunately, the remainder of Ólafsson’s performances at the Adelaide Festival are sold out, but if you ever get the opportunity to hear this master of the piano or this epic work by Back live, you must jump on it.
Reviewed by Kristin Stefanoff
Photo credit: Markus Jans
Venue: Adelaide Town Hall and UKARIA
Season: Until 17 March, 2024
Duration: 1hr 20min (no interval)
Tickets: sold out
Bookings: https://www.adelaidefestival.com.au/events/vikingur-olafsson-at-ukaria/
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