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Her delivery of Mozart’s Piano Concerto No. 17 in G major, K 453, also had all the intimacy this work requires, yet the glowing patina of her tone was not always matched by the LSO. Lacking a hands-on music director interested in rehearsing, the orchestra has developed a sometimes brazen sound, and the louder passages were short on Mozartian elegance. Hardly Ticciati’s fault, then, though at the opening he seemed to be working against the music rather than letting it flow through him. Having calmed down, he was at one with Uchida in the humour of the finale, with its Papageno-like music anticipating the bird-catcher in Die Zauberflテカte.
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