Narek Hakhnzaryan

DC audiences have been following cellist Narek Hakhnzaryan since 2006, when he won the prestigious Johansen International Competition here. He’s returned often, playing in all the major venues in town, and as soloist with the Baltimore Symphony out at Strathmore. Last Friday, along with his long-time recital partner Noreen Cassidy-Polera, Hakhnzaryan gave a well-received program at the National Press Club under the auspices of the Embassy of Armenia (the occasion being the centennial of the US’s recognition of the Armenian Republic).

Now in his early 30s, Hakhnzaryan is a seasoned pro, dropping some of his youthful, over-emoting mannerisms. His command of the instrument remains a thing of wonder, especially the accuracy and brilliance of his upper register. His nonchalance in the face of technical hurdles is exciting in some ways, though he can also miscalculate, playing some passages faster than the ear can follow.  

The program was an eclectic mix of mostly 20th-century works, anchored by the Grieg Sonata. The most impressive performance was that of Adam Khudoyan’s Sonata for Cello Solo, a virtuoso work which Hakhnzaryan devoured. Thomas Demenga’s New York Honk was a humorous take on traffic sounds, and the now-ubiquitous Schindler’s List by John Williams was played with deep solemnity. Written in 1998, Giovanni Sollima’s Lamentatio is entering the canon quickly; I’ve heard it on at least four different recitals by now. In addition to some crazy acrobatics on the instrument, the piece requires the performer to add a vocal line in certain spots, a challenge that adventurous cellists seem to relish. Hakhnzaryan has taken it up to great effect, often giving it as an encore after a concerto performance.  

As for the main course, the Grieg Sonata was marred by an inadequate piano. The Press Club’s carpeted ballroom is not a music-friendly space, and the tiny (and tinny) Chickering that Cassidy-Polera struggled with only made matters worse. Here, also, Hakhnzaryan seemed least at ease. His technique is so far above anything the piece calls for that one sensed that he was looking for things to glom onto. There were too many “sausages” – notes with unwritten swells in the middle – and tempos were often needlessly aggressive.  

This gifted artist will always be welcome here, let us hope he returns soon, in more hospitable surroundings. 

Photo by Naltchayan Photography.