For a long time there has not been such a generally successful performance in the Christos Lambrakis hall as on April 7, when Nikolai Lugansky, together with the Athens State Orchestra conducted by Vassilis Christopoulos, performed Sergei Rachmaninov’s Third Piano Concerto. Obviously, an extremely avant-garde work in itself, with its exuberant and very demanding piano writing, as well as its melodically generous, as well as its orchestral excellent orchestral part, can excite the audience beyond the usual limits. A prerequisite is to play it well, which is not easy, both for a soloist who has to face serious technical difficulties, and for an orchestra.

Nikolay Lugansky has linked his name to Rachmaninov both in concert halls and in discography, where his performances are considered among the most brilliant. He confirmed this in Athens by offering a reading of exceptional completeness. The size of the sound and the expressive majesty of her gestures allowed the pianist to stand comfortably next to the orchestra, even as Kristopoulos ruthlessly unleashed her sound at (intoxicating) points of extreme intensity. The tempo and technical requirements of the work did not in the least limit the virtuosity of Lugansky, who projected the piano part with impressive clarity.

More importantly, nothing interfered with his lyricism and expressiveness, elements without which Rachmaninoff’s music loses its meaning. The way he formed phrases with constant adjustments in speed and dynamics made the music pulsate and, especially in the third movement, led to exciting escalations. The public delirium that followed was unprecedented and entirely justified.

The Russian pianist’s performance of Rachmaninov’s works is one of the brightest.

It was preceded by the no less successful first part of the concert, during which Philippos Chalachuris’ “Julian Suite” and Paul Hindemith’s “Matthias the Painter” symphony were performed. Tsalahuris’s work was completed in April 2013 and is written in honor of the prominent Byzantine scholar Julian Chrysostomidis. Well written and interestingly orchestrated, it consists of five sound “pictures”, each with its own atmosphere. Christopoulos from Kratika singled out different emotions, with a dominant tenderness that characterized the composition as a whole.

Hidemit’s symphony was written before his opera on the same theme. This is one of Hidemit’s most important and famous works and has been reproduced by Christopoulos and Kratiki with precision and clarity.

The chief musician revealed the dramaturgy of the music, allowing the listener to follow the development of (musical) thought and, especially in the third movement (The Temptation of St. Anthony), illuminated a pronounced dramatic element. Experienced KOA wind instruments – Pilafzi (flute), Vambas (oboe) – and Ekaterina Vostrikova (trumpet) contributed to a positive result.