Violin on Stage
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Bomsori is no newcomer to the music world. Although she performs here under her first name only, like Midori, we have already had the pleasure of hearing her in concert under the name Bomsori Kim, notably in sonatas alongside Rafal Blechacz. Now an "official artist of Deutsche Grammophon," she offers us a recital of varied pieces, primarily inspired by operas and ballets, showcasing all the facets of the violin. In this subtle balance between passion and sweetness, Henryk Wieniawski, himself an accomplished virtuoso, holds a place of honor with three works: his first concert polonaise, his touching Legend, and his virtuosic Fantasy on themes from Gounod's Faust. The young Korean violinist demonstrates a fine assurance, a clear, albeit not powerful, sound, and a solid technique, in harmony with a majestic orchestra led by a conductor who knows how to balance expression. While her interpretations are driven by a just sense of risk, they sometimes lack humor, and a certain mannerism creeps into her reading, distancing her from the purity of Milstein in the Legend (Capitol, 1960), the sobriety of Kogan in the Fantasy, or the majesty of Repin in the Polonaise. The variations in tempo, the unnecessary slowdowns, and the frequent exaggerations tinge her lines with a narcissistic touch that these pages do not need to highlight the solo instrument. Her playing aligns better with Franz Waxman's Carmen Fantasy, faithfully rendering the enchanting charms of Bizet's opera heroine, as well as with Saint-Saëns' Introduction and Rondo Capriccioso, which she performs with sensitivity and ardor, albeit with some instability. A few famous pages by Gluck and Massenet, complemented by rare transcriptions borrowed from The Nutcracker or Samson and Delilah, in often overly emphatic orchestrations (signed Michael Rot), reveal yet another expressive excess, notably through an overly intense vibrato considering their climate. In trying too hard to seduce, Bomsori loses a bit of her charm.
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