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http://www.theguardian.com/music/2015/nov/06/philharmonia-vladimir-ashkenazy-seong-jin-cho-review-royal-festival-hall-london

By all accounts, [the final of the 2015 International Chopin competition in Warsaw last month was a close-run thing, with the 21-year-old Korean Seong-Jin Cho eventually taking the first prize and the Canadian Charles Richard-Hamelin being placed second. Among the plethora of piano competition, today, there’s none with more prestige than the Chopin. Previous winners have included Maurizio Pollini, Martha Argerich, Krystian Zimerman and Rafa Blechacz, and the first three prizes in 2010 went to, respectively: Yulianna Avdeeva; Lukas Geniušas and Ingolf Wunder jointly for second; and Daniil Trifonov. London had its first opportunity to hear Cho and to discover whether he promises to rank alongside those illustrious former laureates when he appeared as the soloist with Vladimir Ashkenazy and the Philharmonia, playing the work with which he won in Warsaw, Chopin’s concerto in E minor.

But this Festival Hall performance left a rather mixed, puzzling impression. There’s no doubting the strength and clarity of Cho’s technique, which is combined with a bright, forward piano sound; passages in the outer movements especially glittered fetchingly. But the musical intelligence shaping his playing became increasingly less convincing. Through much of the first movement, it did seem as if Cho’s rubato and handling of the concerto’s rhetoric were instinctive and genuinely expressive, but the long, melodic lines of the slow movement began to seem earthbound, and the finale’s climaxes of the finale became more and more contrived. As his playing lost its freshness, it also lost any sense of a musical personality with original things to say; an encore, the D-flat major Raindrop Prelude, only offered the same mix of the personal and the calculated.

It’s possible, though, that Cho’s playing might have come alive with more responsive orchestral support. There was not much lustre about the Philharmonia’s playing under Ashkenazy in either the concerto or the rest of the concert, with an efficiently noisy account of Berlioz’s Roman Carnival Overture to begin and Rachmaninov’s Second Symphony in the second half. There was certainly expressive intelligence behind Ashkenazy’s approach to the symphony – as a pianist he has been one of the greatest interpreters of Rachmaninov – but too little of that seemed to be taken on board by the orchestra. Textures were clotted and unrefined, outlines too often approximate, like hearing the details of the symphony through cotton wool.

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