Review: RSNO & Thomas Søndergård

Perth Theatre and Concert Halls’ 2025/26 Concert Series comprises 17 concerts and features the Royal Scottish National Orchestra (RSNO) pretty prominently, and it’s no wonder. It is one of Europe’s foremost symphony orchestras and is wonderfully accomplished. With a programme of Brahms’ Double Concerto in A Minor in the first half and Tchaikovsky’s Fifth Symphony in the second, the audience was set for a treat.

They were not to be disappointed. Conducted by Danish conductor and percussionist Thomas Søndergård, who is currently the RSNO’s Music Director, the Brahms featured cellist Bruno Delepelaire and violinist Noah Bendix-Balgley, both of whom currently play with the Berliner Philharmoniker. Delepelaire is first principal cellist whilst Bendix-Balgley is the first Concertmaster: no slouches then.

A peace offering without the war

Brahms wrote the concerto in 1887 as a peace offering to his erstwhile friend, violinist Joseph Joachim. No such enmity between Bendix-Balgley and Delepelaire was evident here, as the two matched one another perfectly. This is a notoriously difficult and strenuous piece for both soloists, not least because of the ‘meaty’ orchestral texture. Each soloist must play individually, then as a single unit, and at other times as sparring partners.

With a programme of Brahms’ Double Concerto in A Minor in the first half and Tchaikovsky’s Fifth Symphony in the second, the audience was set for a treat.

As Brahms was a pianist, not a violinist, his composition takes little consideration of the technical difficulties he imposed, particularly on the violinist. It therefore takes great craftsmanship, musicality, and empathy to get this piece right—and not just from the soloists. The orchestra must take care not to thunder over them. The level of technical mastery required by all musicians on stage is undeniably high.

All of this might make the audience a little nervous from the outset, but really there was no need. The balance across the piece was precise, and the subtlety with which it was played must, in large part, come down to the combination of a fabulous orchestra conducted with finesse. It was a triumph and, I think, left the audience almost holding its breath in admiration.

Tchaikovsky’s triumphant doubt

And what more fitting to follow such virtuosity than Tchaikovsky’s Fifth? Tchaikovsky was still down in the dumps ten years after composing his Fourth, feeling full of self-doubt and not a little ‘past it’. Not the same as Brahms and his olive branch, but not coming from a happy place in either case.

So what does Tchaikovsky give us? An emotional, intense piece with a challenging solo—though this time for the horn player. Plenty of meat in here too, challenging the orchestra once again not to overwhelm the melody. Tchaikovsky wasn’t sure he’d done anything more than compose a complete flop, and his slide towards what his Russian compatriots saw as ‘Europeanism’ earned him some flak on that account.

Not helpful. And yet, ultimately, the Fifth is a beautiful, wonderful, rip-roaring success and one beloved by millions.

A star in the horn section

It does require balance and a firm conductor to ensure cohesion. The horn solo in the second movement needs to be heard, so the strings must be respectful; the finale needs the brass section to be hearty but without the strings being drowned out. Søndergård isn’t a showy conductor: his style seems quiet and reasoned.

He uses his baton sparingly and yet with direction, and the end results speak for themselves. We could hear what we needed to, and the musicians being featured never ‘outplayed’ one another.

Søndergård isn’t a showy conductor: his style seems quiet and reasoned.

So, of course, the horn player needs to get a mention here. Amadea Dazeley-Gaist has recently been appointed principal horn with the RSNO, but there was no attribution in the publicity I could find. She was certainly given credit by Søndergård when soloists and sections were taking their bows at the end of the concert.

She is young—only graduating from the RCM in 2024—but has played with many other prestigious orchestras and as a soloist, as well as having had a routine ‘trial period’ with the RSNO before being appointed at the end of 2025. She has already garnered accolades and I’m sure will continue to do so.

What a night! What wonderful music in a fabulous concert hall, showcasing fine musicians playing technically challenging pieces and led by such a ‘composed’ conductor. Encore!

Featured Image: Tchaikovsky-Symphony-No5-Header – Credit: RSNO