From First Love to Last Encore
The evening opened with an introduction from mezzo-soprano Aigul Akhmetshina and pianist Jonathan Palmer Lakeland, who explained how the programme’s theme had evolved. When they began designing it a year ago, they planned a programme about love, only to realise how many different aspects of love there are to explore.
Chapter One: First Love
The first chapter was devoted to a fresh, innocent love as experienced by the young. It featured several Rachmaninov songs, including “Morning” and “I Wait for Thee”, alongside Tchaikovsky’s “Whether the Day Reigns” and Balakirev’s “I Loved Him”. Akhmetshina was so powerful that it was almost easy to forget there was a pianist behind her.
Chapter Two: Betrayal and Rejection
The second chapter traced love’s trajectory into first betrayal and first rejection. Before it began, the artists reflected on how love can change a person, and whether that change is something we force on ourselves for protection. They also spoke of the miscommunication that so often arises, when something feels wrong but you can’t yet say what. Opening with Rimsky-Korsakov’s “Captivated by the Rose” captured the bitterness of love gone wrong.
This half felt less piano-heavy and more singer-centred. Her projection was incredible, her voice filling the whole room. It was also the most linguistically varied chapter: where the first was sung entirely in Russian, this one moved between Russian, French and Spanish. Many songs had a femme fatale air, such as “Mujer Fatal” (a UK premiere, written especially for her) and “Yo soy María”. In the latter, a tango, the pianist’s passion really came through in some strong, powerful playing. It was the last song before the interval.
During the interval, I heard other audience members remark on how much she has grown since her debut as Carmen.
Chapter Three: Wisdom and Hope
After the 20-minute interval, she returned in a new outfit. The first half had her in a long, off-the-shoulder black gown with sleeves of pearls. For the second she wore a stunning black dress embroidered with small details. Without any introduction or warning, the second half began with Britten’s “Tell Me the Truth About Love”.
They then introduced the third and final chapter: wisdom, hope, and questioning and learning what love is, and what we want from it. They arrived at the realisation that love is bigger than romance, encompassing love for a child, love for life itself. There are truly many forms of love.
This chapter was predominantly in English. It included jazz classics such as “Speak Low”, as well as a return to a more traditional treatment of love with Rachmaninov’s “How Fair Is This Spot”.
It wasn’t all classics, however. They premiered a piece by Lakeland himself, who recalled Akhmetshina telling him in the past, “If you don’t start writing music I will kill you.” The threat seems to have worked wonderfully: the piece was rich and well-rounded, rewarding for the piano and perfectly suited to the singer.
The final song of the programme, Styne’s “People”, felt underwhelming and rather basic next to everything that came before. Artistically it may have been a little dull, but it fit the theme and was an adequate way to close.
That made the surprise encore all the more delightful. They performed several pieces, including “Bésame”, and finished with one in which, to everyone’s surprise, the pianist joined the mezzo-soprano in a duet. All the arrangements were by Lakeland.
All in all, it was a wonderful evening, and a real pleasure to hear Akhmetshina, who may well be among the finest mezzo-sopranos of her generation.
This show ran at Milton Court Concert Hall.