The Utzon Music Series has long been a cornerstone for Sydney’s chamber music aficionados. Set in the intimate 200-seat venue of the Opera House, with its stunning harbor views, the series regularly features world-class performers, providing an unparalleled musical experience.
This year’s final recital was no exception, featuring the illustrious Konstantin Shamray. Based in Adelaide but originally from Russia, Shamray shot to prominence in 2008 when he won the Sydney International Piano Competition, achieving the rare feat of capturing both the judges’ and the audience’s votes.
For his performance, Shamray selected works by Russian composers Sergei Prokofiev and Nikolai Medtner, alongside a collection of Johann Sebastian Bach’s Inventions and Sinfonias. These intricate short pieces, written as exercises for Bach’s students, are deceptively challenging. As Shamray humorously noted, Bach’s pupils must have been exceptionally talented, as it took him years of practice to perfect them.
For many, these pieces are timeless companions. I’ve cherished Glenn Gould’s distinctive interpretations over the years, transitioning from LP to cassette, CD, and finally digital formats. Shamray, however, took a different approach—his renditions were brisk, energetic, and seamlessly linked to sustain their dynamic flow. Unlike Gould, he refrained from humming along, and the Opera House’s Steinway piano offered a crystalline sound that contrasted with Gould’s heavily customized instrument.
Shamray next turned to Prokofiev’s Visions Fugitives, a suite of 20 fleeting vignettes that vanish like snowflakes upon contact. Often impressionistic and reminiscent of Debussy, these pieces radiate charm and effervescence. Prokofiev himself frequently performed excerpts as encores, once remarking, “They liked how I played but didn’t understand what I played.”
The program’s centerpiece was Medtner’s Sonata Op. 25 No. 2, Night Wind. This monumental work, inspired by Fyodor Tyutchev’s poetry—“Oh, do not wake the sleeping tempests; beneath them Chaos stirs!”—unfolds over 35 uninterrupted minutes. Medtner, a contemporary and friend of Sergei Rachmaninov, was overshadowed by both Rachmaninov and Alexander Scriabin during his lifetime. However, his music has experienced a resurgence, thanks in part to Australian pianist Geoffrey Tozer’s advocacy. Rachmaninov himself declared Medtner the greatest composer of their era.
The Night Wind sonata is a tour de force, demanding both technical mastery and emotional depth from the performer. Shamray delivered a breathtaking rendition, capturing the stormy turbulence and sweeping romanticism of the piece. The audience was left spellbound, their energy spent by the sheer intensity of the performance.
For his encore, Shamray offered a lighter touch with one of Scriabin’s Chopin-inspired études—a fitting conclusion to a richly varied program.
Looking ahead, the Utzon Music Series returns next year with recorder virtuoso and broadcaster Genevieve Lacey as its new curator. The 2024 lineup promises an eclectic mix, including world music and folk ensembles alongside classical chamber groups, ensuring something for every music lover.
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