Nikolai Lugansky's musical style is a subject of much discussion. His performances often showcase a lack of charm, yet are filled with heavyweight keyboard pyrotechnics. He approaches his pieces with a fierce, take-it-or-leave-it attitude, seemingly leaving concepts of subtlety and delicacy behind. This led to a puzzling choice when he began his Wigmore Hall recital with Mendelssohn's Songs Without Words. These intimate, modest miniatures typically offer few opportunities for grandeur, yet were played perfectly correctly without any liberties taken or exaggeration. However, there was also a lack of something to bring them to life and give them shape or color.

The Monochrome Nature of Lugansky's Playing

Even when he brilliantly negotiates extreme technical challenges and hurls out torrents of notes at maximum velocity, the music often seems diminished. In the Chopin group that followed the Mendelssohn, such as the A flat and F minor Ballades separated by the D flat Nocturne Op 27 no 2, there was a notable absence of a dramatic narrative shaping the music. All the virtuoso passages were dispatched with great effect, but the intervals between them were far less engaging.

The Mendelssohn Songs Without Words

Mendelssohn's Songs Without Words are known for their intimacy and modesty. Nikolai Lugansky's interpretation of these pieces was precise but lacked the element that would bring them to life. There was no sense of emotional depth or color. Each note was played correctly, but it was as if they were just isolated sounds rather than a cohesive whole. This showed the limitations of his approach when it came to more delicate music.

The Chopin Ballades and Nocturne

The Chopin group that followed the Mendelssohn presented a different challenge. The A flat and F minor Ballades are masterpieces that require a delicate balance between technical prowess and emotional expression. Lugansky's performance was undoubtedly technically brilliant, but the lack of a dramatic narrative made the music feel disjointed. The D flat Nocturne Op 27 no 2 added a moment of respite, but it couldn't fully redeem the overall experience. The music seemed to lack a sense of flow and unity.

Wagner through Pianistic Prisms

In the second half of Lugansky's programme, he delved into Wagner. His own Four Scenes from Götterdämmerung mashed together episodes from the Ring cycle, creating a continuous sequence. However, this approach curiously undermined much of the drama. Siegfried's Funeral March lost its savagery, and the music drama's closing pages their redemptive power. There were a lot of notes and noise, but precious little poetry. This was especially evident when compared to Liszt's transcription of the Tristan und Isolde Liebestod, which highlighted what was missing from Lugansky's interpretation.