Russian pianist Evgeny Kissin accompanies the Chicago Symphony Orchestra at Orchestra Hall on Thursday. 
Some critics have observed that while Charles Dutoit's concerts are seldom, if ever, disappointing, few add up to truly extraordinary experiences either. Yet one had no hesitation in putting the concert he directed with the Chicago Symphony Orchestra on Thursday night, concluding his two-week residency at Symphony Center, in the latter category.
Of course any conductor fortunate enough to have Evgeny Kissin as soloist already has a conspicuous ace up his sleeve. The celebrated Russian pianist is favoring Orchestra Hall with three appearances this season, each focusing on a different aspect of his remarkable artistry. The second of the three brings the eternally popular Grieg Piano Concerto, a warhorse that could only benefit from the fresh rethinking of Kissin and Dutoit.
The pianist did not set out to wow the audience with his colossal technique, but wow them he did, through an acute and caring sensitivity to matters musical. His performance reminded one why the Grieg concerto remains central to the romantic concerto tradition, looking backward as it does to Schumann's concerto in the same key and forward to the showier statements of Tchaikovsky and Rachmaninov.
From the pianist's commanding entry through the splashy cadenza, his first movement was by turns full-blooded and delicate, his gracious pianism alert to the scherzando qualities of Grieg's keyboard writing. Kissin made a really lovely lyrical interlude of the Adagio, closely attended by Dutoit, who held the orchestra at a rapt distance.
This led to a brisk, even impetuous finale in which both musicians honored the movement's marcato marking, though I found the apparent clicking of the pianist's fingernails on the keys somewhat distracting. Still, this was an exciting close to a warmly magisterial reading.
The audience rose to its feet to give Kissin a prolonged ovation. He smiled shyly and bowed deeply before rewarding them with an encore, Grieg's solo piano arrangement of his famous song "Jeg elsker dig" ("I Love But Thee"). It, too, was beautifully done.
Dutoit began his Scandinavian sojourn with the first CSO subscription series performance of Sibelius' "Karelia Suite." His performance breathed the fresh, clean air of Northern climes, from the horn calls of the opening march, echoing as if across a vast wooded landscape, through Scott Hostetler's mellow English horn solo in the central "Ballade," to the final festive march. One could not fail to notice the conductor's highly vocal encouragement of the players.
The Swiss maestro is a celebrated exponent of the Franco-Russian repertory, and the colorful yet refined account of Stravinsky's "Petrushka" with which he concluded the program reminded us why. Like many conductors, Dutoit opted for the original 1911 scoring over the somewhat leaner 1947 revision, playing up its sumptuous scoring and rich atmosphere. I have heard tougher readings but few that have better illuminated the ballet from within.
So keenly was each episode characterized that one had no trouble visualizing the poor puppet's saga in one's mind's eye. The Shrovetide fair, bustling with sharply drawn rhythms and meters hat turned on a dime, set the stage for what was to follow. At every juncture the orchestra's matching of sound to mood was on the mark, not least in the ballerina's dance as evoked by Mathieu Dufour on flute, Christopher Martin on cornet and David McGill on bassoon. Here was a performance to make you marvel anew at Stravinsky's genius as a conjurer of orchestral color.
Program note: Pianist Murray Perahia will replace the indisposed Maurizio Pollini in recital at 3 p.m. April 10 at Orchestra Hall. Perahia is performing again following his own cancellation earlier this season. His program will hold works by Beethoven, Brahms, Schumann and Chopin.
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