ANITA RACHVELISHVILI

So, let’s start with the pianist, instead of leaving him as a footnote to the review. Aladashvili drew attention first and foremost with his playing, technically adept and winningly expressive, which meant that his impish antics were delightful; if he weren’t such a fine musician his behaviour would have been irritating. When someone called out (in Italian) ”Anita, you’re the best!”, he turned to the audience and said (in English) “And me?”, followed by a big grin before holding a hand in front of his face as though hiding his blushes from being so impudent. During the encores, a voice yelled, ”Carmen!” and he started playing the introduction to the Habanera before they segued into a different aria entirely (Saint-Saëns’ Mon cœur s’ouvre à ta voix; gloriously sung and well-suited to her voice). When they did arrive at Carmen, he began by playing a few notes of another piece before turning his iPad upside down, transforming the notes into the familiar dum de-dum dum intro to the Habanera. It was great fun and he’s an absolute delight.