Edward Bhesania visits London’s Wigmore Hall on 22 June 2025 for the performance of Poulenc, Britten, Fauré and Ravel
The opening pizzicato thwack and the Très violent first theme of Poulenc’s Violin Sonata said it all. Dutch violinist Rosanne Philippens was not holding back at this, her Wigmore Hall debut. Her fast pace in the first movement put pianist Zoltán Fejérvári on his mettle. Likewise, she fired out pin-sharp pizzicatos in the hyperventilating finale. Perhaps the expression veered towards the manic at times, but the sheer energy kept us on our toes. In any case, there was spacious reflection, and ravishing moonlit twinkling (from both artists), in the middle movement.
The Harlequin-esque quality of the Poulenc expanded in the Waltz from Britten’s op.6 Suite, though it could perhaps have had a freer, more capricious swing.
In Fauré’s First Violin Sonata, Philippens’s ability to soar, with plenty of support, lent a keen momentum to the first movement. True, there could have been deeper lyricism in places, and a more whispered quality to the scherzo (which was sprightly though not feather-light), but it’s clear that her energy is generated by musical commitment rather than by an attempt to impress.
In the encore – Ravel’s Pièce en forme de habanera – we entered a suspended, nocturnal world, leaving us with an atmospheric sound-picture.
Edward Bhesania
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