Nicola Benedetti and Friends Offer a Delicious, if Not Satisfying, Musical Feast
The Scottish violinist Nicola Benedetti has long been hailed as "the country's favourite violinist," and her latest concert tour at the Royal Albert Hall is testament to this reputation. The show, which marks her first major tour in over a decade, felt more like an informal gathering than a traditional concert, with Benedetti frequently engaging with her audience and sharing stories between pieces.
Musically, the evening was characterised by bite-sized morsels of great beauty, rather than a fully formed meal. The supporting ensemble, which included cellist Maxim Calver, guitarist Plínio Fernandes, and accordionist Samuele Telari, provided a flexible and responsive backdrop for Benedetti's virtuosic playing. The trio's unconventional combination added an interesting dimension to the music, and their performances came across particularly well in the hall.
The setlist was eclectic, spanning three main categories: romantic salon pieces, Scottish folk tunes, and show-stopping virtuosity. The former included beautiful arrangements of Debussy's "Beau Soir" and Sicilienne, both of which showcased Benedetti's generous tone and velvety phrasing. These pieces were expertly woven into a cohesive narrative, with the trio conjuring an ambience reminiscent of the title track from Violin Café.
The latter half of the set saw Benedetti joined by Fin Moore on smallpipes for traditional Scottish tunes, including Peter Maxwell Davies' "Farewell to Stromness." The addition of the pipes added a unique texture to these familiar pieces, and Benedetti's extemporisation above added a thrilling dimension.
However, some may have felt that the evening was lacking in depth or substance. Benedetti did play a few show-stopping numbers, including Wieniawski's polonaise and Paganini's caprices, with Emma Baird joining her for Sarasate's "Navarra." While these performances were undeniably impressive, they came across as formulaic at times.
Ultimately, however, this was an evening that showcased Benedetti's exceptional talent and versatility. Even if the musical feast was not a fully satisfying one, it was clear that she remains one of the world's top violinists, capable of conjuring up moments of breathtaking beauty with ease.
The Scottish violinist Nicola Benedetti has long been hailed as "the country's favourite violinist," and her latest concert tour at the Royal Albert Hall is testament to this reputation. The show, which marks her first major tour in over a decade, felt more like an informal gathering than a traditional concert, with Benedetti frequently engaging with her audience and sharing stories between pieces.
Musically, the evening was characterised by bite-sized morsels of great beauty, rather than a fully formed meal. The supporting ensemble, which included cellist Maxim Calver, guitarist Plínio Fernandes, and accordionist Samuele Telari, provided a flexible and responsive backdrop for Benedetti's virtuosic playing. The trio's unconventional combination added an interesting dimension to the music, and their performances came across particularly well in the hall.
The setlist was eclectic, spanning three main categories: romantic salon pieces, Scottish folk tunes, and show-stopping virtuosity. The former included beautiful arrangements of Debussy's "Beau Soir" and Sicilienne, both of which showcased Benedetti's generous tone and velvety phrasing. These pieces were expertly woven into a cohesive narrative, with the trio conjuring an ambience reminiscent of the title track from Violin Café.
The latter half of the set saw Benedetti joined by Fin Moore on smallpipes for traditional Scottish tunes, including Peter Maxwell Davies' "Farewell to Stromness." The addition of the pipes added a unique texture to these familiar pieces, and Benedetti's extemporisation above added a thrilling dimension.
However, some may have felt that the evening was lacking in depth or substance. Benedetti did play a few show-stopping numbers, including Wieniawski's polonaise and Paganini's caprices, with Emma Baird joining her for Sarasate's "Navarra." While these performances were undeniably impressive, they came across as formulaic at times.
Ultimately, however, this was an evening that showcased Benedetti's exceptional talent and versatility. Even if the musical feast was not a fully satisfying one, it was clear that she remains one of the world's top violinists, capable of conjuring up moments of breathtaking beauty with ease.
She's always been amazing, but this show felt like a super casual hangout with her and her friends on stage 
. The music was gorgeous, all these bite-sized pieces that just gave you chills... but sometimes it felt like she played the same big hits over and over again - like Wieniawski's polonaise for the millionth time 
. Still, Benedetti's a pro and she brought the house down with those Paganini caprices! 
What I loved most was how she connected with the crowd, sharing stories between pieces... it felt so intimate! 
. But, I dunno, maybe I was expecting a full-course meal from her, you know? 
It felt like she was just giving us little treats throughout the night, not really satisfying our hunger for something more substantial 
. And that Samuele Telari on accordion? Genius! 
.
It's like they're all old friends who just happen to be playing some amazing music together. That 'Violin Café' vibe was so cool too! But yeah, maybe next time I'll get a full meal out of it... 
I mean who doesnt love seeing their fave artist chatting with the crowd and sharing stories between sets? Its like we're all just hangin out at this sick concert 
I gotta say, Nicolò Benedetti is defo still got it 
. Her concert at the Royal Albert Hall was like a cozy dinner party 
, and Benedetti's virtuosity had me swooning 
.
. Like when she brought out the pipes for those traditional Scottish tunes, that was fire 
! And let's be real, her show-stopping numbers were totally on point 
... but sometimes they felt like we'd seen them before 
.
and connect with the crowd, even if it's not always a full-on feast for our musical souls 
. And that supporting trio? They were like the perfect accompaniment to her virtuosity 
. Maybe not every piece was, ahem, fully formed, but Benedetti's talent is just so evident – she's still the queen of the violin 
!
I'm still reeling from that concert review! Benedetti's vibe is def on point, but like, where was the depth? You gotta have some substance behind those virtuoso numbers, you know? It felt like she just phoned it in for a few of the show-stoppers - Wieniawski and Paganini are iconic, fam 
her music is defo gorgeous tho 
.