Tchaikovsky Lights Fireworks at Bowl

Given ever-improving fireworks displays, 26 summers can certainly fly by. At the annual Tchaikovsky Spectaculars at Hollywood Bowl--formally begun as a ritual in 1969, though Tchaikovsky evenings were already a cliche at the outdoor amphitheater by then--that time has evaporated before our ears. Still, we have some happy memories.

The 1994 edition, played by the Hollywood Bowl Orchestra led by John Mauceri, contributed to those remembrances. And, of course, it was well-attended, a reported 16,167 listeners crowding the Bowl Friday, and a full-house, the regulation 17,979, in attendance Saturday.

Heard and experienced at Friday’s performance was a rare revival of the composer’s symphonic fantasy, “The Tempest,” along with a polished account of the “1812” Overture to accompany the elegant and exciting fireworks show. More important, even, was the local debut of Russian pianist Nikolai Demidenko, in the First Piano Concerto.

Now a resident of Great Britain, the 39-year old Demidenko is a pianistic presence of strong authority and abundant accomplishment.

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The tone he produces--here amplified and projected through the Bowl’s unreliable, highly complex sound-system--seems to be smallish, and not particularly well-colored. Nevertheless, the pianist’s technical resources have facets. He gets around the keyboard without perspiration, delivers deadly accurate octaves and finger-work with a stunning reliability and hardly ever makes an ugly sound.

He did some surprising and unorthodox dawdling in parts of the concerto through which others walk briskly. Yet he is so musical and self-convinced that one tends to want to accept his individual touches. At the piano, Demidenko exhibits genuine personality and likability. He should return soon to show us more.

What Mauceri & Co., in fine orchestral voice--ensemble values tightly delivered, cohesion of choirs solid and resonant, solo voices clear--showed the assembled throng was smooth and polished Tchaikovsky playing.

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One didn’t mind a five-minute spoken program note on “The Tempest” because the conductor, as always, proved so interesting as raconteur. And the performance itself made that much more sense after the preparation.

At the beginning of the evening were excerpts from “The Sleeping Beauty,” lovingly re-created by all forces. At the end came a taut “1812” Overture with illuminating visuals created by Pyro-Spectaculars, with Gene Evans as special effects consultant.

The strong and cohesive USC Trojan Marching Band contributed to the general effect.