|
|
Post by MartinT on Jul 29, 2024 19:30:06 GMT
Prom 1: Beethoven Symphony No. 5
Conductor: Elim Chan
BBC SOSo what could Chan bring to this old warhorse? Well, quite a lot, actually. She takes it at a fairly fast pace but, importantly, doesn't accelerate and slow down to give false emphasis. This symphony needs to be listened to in a meditative state and let it soak in, such is its power. There is no let up, it's all brilliant (in the case of the sunrise, 3rd movement, almost literally). I have never seen Chan perform before and have rarely heard the BBC Symphony Orchestra in such fine form with an especially sonorous brass section. She carries off the 1st movement to perfection and follows up with a hugely lyrical 2nd movement. The 3rd movement flows into the 4th with the finale coming to an epic close, rising from the quiet motif repeated from the 1st movement and building to a very fine climax. What a stunning performance, no wonder the audience are rapturous. This is what puts Beethoven up there with the giants. I like Elim Chan very much.  www.bbc.co.uk/iplayer/episode/m00216m5/bbc-proms-2024-first-night-of-the-proms
|
|
|
|
Post by julesd68 on Jul 29, 2024 20:45:09 GMT
Yes I've been impressed with Ms Chan - I'll see if I can manage to watch the Beethoven.
|
|
|
|
Post by julesd68 on Jul 30, 2024 18:38:09 GMT
25 Jul 2024 - Royal Albert Hall
Prom 9
Brahms - Symphony No. 3 Schoenberg - Verklärte Nacht Mahler - Kindertotenlieder
Alice Coote - mezzo-soprano BBC Scottish Symphony Orchestra Ryan Wigglesworth - conductor Sitting behind the stage in the Choir I had plenty of time to admire how busy the hall was, with seemingly only a handful of seats unoccupied. Classical music is dead, don't you know? Brahms 3 is a very uneven symphony to my ears. Two superb movements, one good and one not so good at all ... The first movement has some extravagant and seductive Romantic themes that cannot fail to please those who enjoy the genre. I do. And there's even a touch of Bond! Yes I can hear 007 making his appearance in one of the more dramatic short themes that makes way for more romance but makes its way back into action at a later point. Anyway, this was the first time I had heard the SSO, so what did they make of it? Well it just felt a little reined in to me, as though the conductor didn't really want to let his charges off the bridle for some reason. I enjoyed the music but felt I could have been swept up in the story more. I'm simply going to gloss over the second movement. To me the music is ordinary and there was nothing the orchestra did that convinced me to think otherwise. Straight to the third movement then, which for me possesses one of the most glorious and ravishing themes of the entire Romantic repertoire, it is beyond sublime and played appropriately should send one into a headlong rush of transcendental ecstasy. This didn't. It was delivered with the weight of a silken feather. Some might say it was understated and elegant but I felt somewhat short-changed by the Brahmslite approach, having looked forward to the movement so much. Conversely the final movement was given full weight, delivered with power and panache but here the music never gets anywhere near the heights of melodic intensity of the previous movement, or even the first. Still, it was good to end the Brahms on some kind of high. The stage was then cleared for only the strings to remain. I've never heard the Schoenberg played by a full string orchestra and must say there were some fine elements to the performance whether one's preference is for a chamber orchestra or not. The wonderfully deep, weighty tone was matched in quality by a highly beguiling unison vibrato. At one moment the tension reminded me of a score for the likes of a Hitchcock movie but then we are briefly swept up in some kind of silver screen Hollywood romance! This was keenly and vibrantly portrayed. The violin solos were immensely satisfying and sensively observed, as was the performance as a whole - a fully cohesive sound with all the musicians playing with one finely honed voice. The Mahler is a sensational work of course but failed to my ears purely on an issue of acoustics. Sitting in the choir as I was, Alice Coote can't have been standing much more than 20 metres from me but I just couldn't hear her properly for much of the work. Now of course having the singer projecting away from me on the other side of a full orchestra doesn't help but I was surprised how much my ears struggled. What a shame! Only occasionally did her voice truly soar above the orchestra to deliver a true sense of Mahlerian exhilaration. Of course I will have to listen again on Radio 3 where the carefully positioned microphones will give me a better understanding of the vocal performance which must have been very fine. I consoled myself with the first class support from the SSO, with particularly fine horn and woodwind exchanges on this curate's egg of an evening.
|
|
|
|
Post by MartinT on Jul 30, 2024 20:09:03 GMT
Shame about the Kindertotenlieder, it's an extraordinary work when sung well (and audible).
|
|
|
|
Post by julesd68 on Aug 6, 2024 13:44:34 GMT
August 5, 2024
Prom 23, Royal Albert Hall
Sergey Rachmaninov - Symphonic Dances Ferruccio Busoni - Piano Concert
Benjamin Grosvenor - piano
The Rodolfus Choir London Philharmonic Choir London Philharmonic Orchestra
Edward Gardner - conductor
The evening commenced with the larger than life orchestral workout of Symphonic Dances, which is perfect Proms fare. For the most part it was everything you would hope for - the first movement majored on those whipcrack dynamics with a lush and glamorous Hollywood string tone heady with vibrato. There was a most pleasing amount of detail in the quietest of passages and momentum was always maintained. We were also treated to a fabulously well taken saxophone solo. The tricky slow movement didn't fare quite so well where the music does meander somewhat and it's easy to momentarily drop the ball. I didn't feel so securely and confidently guided through the movement and my attention did wander. Fortunately with the gloriously Technicolour final movement normal service was resumed. Totally enthralling, the narrative of the movement was perfectly presented - I felt like a fish on a hook being steadily reeled in by Mr Gardner. The string tone was so evocative of the 1930's golden screen era I almost expected Judy Garland to make an appearance ... Indeed the music became so heady that it suggested the intoxicating rush of Scriabin's Poem of Ecstasy, which cannot be a bad thing. Most capital entertainment indeed.
It was my first time listening to the gargantuan 70+ minute Busoni and can only call it a grand curiosity. The first *three* movements I oft found a bit of a struggle with their earnestly Romantic yearnings which have Grosvenor manfully cascading up and down the keyboard sometimes powerfully, sometimes delicately, ad infinitum, leaving me a little non-plussed by the musical narrative on offer. But one must separate the music from the performance and it must be said that Grosvenor and Gardner could not have wrought more value from a score that only occasionally truly piqued my interest. Then it all changed, seemingly out of nowhere a movement of wonderful verve and energy was conjured out of thin air. Indeed the magic was bottled in a propulsive theme which immediately reminded me of The Sorcerer's Apprentice by Dukas. Wildly and wilfully playful, mischievous yet utterly charming, it takes the Dukas theme and runs off gleefully to explore multiple unexpected avenues. How thoroughly entertaining, with both our soloist and orchestra utterly alert to the musical opportunity and challenge! And quite a challenge it is to the soloist, just one of the reasons why this work is so rarely performed.
The surprises didn't stop there. The final movement took us to the opposite end of the musical spectrum for an introspective and solemn movement that is marked by the presence of a male voice choir seemingly located in the lofty rafters of the hall. And what a glorious sound it was with piano, choir and orchestra resonating as one humane voice. It was solemn yet soulful and reflected a sense of inner peace which felt quite special.
I cannot leave you without a word on the performance of Edward Gardner who was extremely impressive - a constant source of inspiration and infectious energy, with evidently a hawk's eye for inner detail, I shall look out for him in the future for sure.
And finally ... How much do Busoni and Grosvenor look alike? Uncanny. It was obviously meant to be. 
|
|
|
|
Post by julesd68 on Sept 9, 2024 21:10:07 GMT
Prom 50 Royal Albert Hall - 28 August 2024.
Kaprálová Military Sinfonietta 15’ Dvořák Piano Concerto in G minor 40’ Interval Janáček Glagolitic Mass 41’
Mao Fujita - piano
Corinne Winters - soprano Bella Adamova - mezzo-soprano David Butt Philip - tenor Pavel Švingr - bass Christian Schmitt - organ Prague Philharmonic Choir Czech Philharmonic Jakub Hrůša - conductor
A short review for this my final Prom which I didn't manage to write before going away.
The story of Czech composer Vítězslava Kaprálová I find to be much more interesting than the work we heard itself. She was a turn of the century composer who sadly died from misdiagnosed typhoid at the age of just 25. I didn't feel much of a connection with her Military Sinfonietta and the orchestra didn't sound totally convinced by it either in a slick and professional performance that was lacking any great depth. I noted some almost Disney-esque fantasy elements to the music which was not a great bonus in my book ...
How many times do you hear of the Dvorak PC being performed? None or not many? That's because it's really not very good, with no consistent passages of true inspiration; it pales into microscopic insignificance compared with the Cello and Violin Concertos! However it wasn't difficult to listen to due to the brilliance of Mao Fujita who made light of the technical demands of the work and illuminated it as far as one could imagine. I would happily see what he can do with more interesting repertoire.
And then for the main event ... The Intergalactic, as I'm prone to call it. Janáček's earthy and modernistic Glagolitic Mass, composed in 1926-27, was truly ahead of it's time. It's a real powerhouse of a work, heaving its vast sinews under the weight of a full choir, organ, orchestra and four soloists, the combined forces of which cast a mighty spell indeed. Some serious sound pressure was shifted, with the RAH organ utterly dominant and resplendent in tone with a masterful performance indeed from Christian Schmitt. The orchestra knew this was their chance to show what they could really do and seriously upped their game, sounding entirely galvanised with razor sharp focus. And then the choir, what an utterly magnificent and moving tone from this huge double chorus! It was a curiously old-fashioned East European style tone perhaps but in the best possible way - their togetherness, the sense of singing as just one voice was just remarkable and had obviously been seriously well rehearsed for the challenge at hand, singing in Old Church Slavonic. The soloists for the most part managed the difficult job of asserting their voices in this complex soundscape but in terms of sheer quality they didn't manage to outshine the spectacular chorus. 
|
|
|
|
Post by julesd68 on Sept 25, 2024 14:51:58 GMT
Liverpool Metropolitan Cathedral - 20 September 2024
THE SIXTEEN
Harry Christophers - conductor
Plainsong - Lauda Jerusalem Dominum (Psalm 147)
Lassus - Osculetur me osculo oris sui
Casulana - Morir non puo il mio core
Lassus - ‘Credo’ from Missa Osculetur me
Josquin - Benedicta es caelorum Regina
Lassus - Cantai, or piango
Lassus - Lauda Jerusalem Dominum
Chatelet - Benedicta es caelorum Regina
Lassus - Salve Regina a6
Casulana - Vagh’ amorosi augelli
Lassus - Magnificat Benedicta es caelorum Regina
Bob Chilcott - Lauda Jerusalem Dominum (parody on Lassus’ Cantai, or piango)Whilst I have seen The Sixteen on a number of occasions, this was my first and long overdue visit to Liverpool Metropolitan Cathedral. The building has such a wonderfully harmonious and welcoming feel, so eminently suitable for choral concerts. I hope the pictures below give you an idea of its unique beauty and atmosphere. Particularly dramatic is the architectural “crown of thorns” suspended with lighting above the altar where the choir stood. The Sixteen performed their new album, Masters of Imitation, in its entirety. More info on the background to the recording here. thesixteen.com/season/the-choral-pilgrimage-2024-masters-of-imitation/Starting with a plainsong chant, two lone male voices started singing from a distance away, whilst sopranos sang from the altar. This created a beautiful spatial effect as the male voices processed to the altar to join the rest of the choir. An inspirational start to the concert. We were then treated to the complex early music polyphony that this group are renowned for. I knew what to expect in this regard - perfect timing, poise and clarity that works on such a magnified scale that sixteen voices can sound like a choral army. It can be overwhelming in its beauty and emotions at times. The cathedral played its part too, with the vast ceiling endowing these radiant voices with sometimes a full six or seven seconds of decay. The effect was glorious. There were two works that I found especially pleasing. The first, Salve Regina by Lassus has a most hypnotic quality with its seemingly infinite cascade of voices, punctuated by perfectly pleasing vocal ornaments. The contemporary work we closed with, Lauda Jerusalem Dominum, was inspired by Lassus and composed by Bob Chilcott. I had no idea what to expect but was touched by its rich and vibrant, yet plaintive sound which made an enthralling climax to a thoroughly satisfying concert. The only thing missing from the performance was a spoken introduction to the program - a few words here about the music and choice of venue would have surely been most welcome.  
|
|
|
|
Post by MartinT on Sept 25, 2024 15:07:27 GMT
As we were discussing, Jules, I still remember the BBC2 colour test transmission of the building of that cathedral. Hard to think of how much time has passed.
I have never been disappointed by The Sixteen and am glad that you enjoyed the concert.
|
|
|
|
Post by julesd68 on Oct 5, 2024 15:05:35 GMT
3 October 2024 LSO St Luke's
Forma Antiqva
Sonatas by
Georg Philipp TelemannA very welcome return to Jerwood Hall it was for this fabulous Spanish period instrument outfit who had so impressed me last year. This time the harpsichord, guitar and violin were joined by the Baroque recorder which proved to be an inspired move. What I love about this group is their verve, commitment and unity. This was typified by the second movement of the opening sonata in which the violin and recorder seemingly take each other on in a fearless lightning duel to the death. Their instruments like flashing blades dancing in perfect harmony, a mesmerising feat of the highest standards of musicianship. The musical understanding shared between the group is not perhaps a great surprise considering that three of them are brothers. However in this beautifully curated programme they also each enjoyed some minutes in the spotlight as soloists which gave us an extra insight into their individual virtuosity and tone. Each outstanding in its own right but it's the recorder that had the greatest impact on me, being the first time I had heard it played to such a level. The seemingly herculean feats of breath control in the quickest passages left me reeling. After a fully deserved brief encore I wondered when they might return to the Hall, as refurbishment is about to soon start at St Luke's. I do hope there aren't major changes to the Hall itself as it seems just a perfect blend of old and new as it is. 
|
|
|
|
Post by julesd68 on Oct 9, 2024 17:47:39 GMT
Barbican London - 8/10/24
Britten Sinfonia and The Will Gregory Moog Ensemblewww.willgregorymoogensemble.co.uk/synthsJS Bach/Wendy Carlos - Prelude and Fugue in C minor
Henry Purcell/Wendy Carlos - Funeral Music for Queen Mary
Bernard Herrmann - Fahrenheit 451 Suite
Charles Ives - The Unanswered Question
John Carpenter - Escape from New York
Vangelis- Chariots of Fire Theme
Ron Grainer/Delia Derbyshire - Doctor Who Theme
Will Gregory - Archimedes Suitewww.barbican.org.uk/whats-on/2024/event/britten-sinfonia-and-the-will-gregory-moog-ensembleWhat an absolutely fabulous concept for a concert! And lovely to see a healthy sized midweek audience at the Barbican, of all ages ... The opening Bach aperitif I found a little challenging due to the amount of frequency modulation going on, it was a bit crazy but intriguing! Then the Clockwork Orange music, how utterly wonderful and glorious to hear those huge imposing chords live, what a visceral impact it has. I just wanted it to be louder, and longer. So I felt a little short changed when the synth gurus all trooped off the stage just a few minutes in to leave just the orchestra, but I needn't have worried - their best was yet to come... The Bernard Herrmann Fahrenheit 451 Suite was like being transported to a Hollywood studio. What an incredible outfit the Britten Sinfonia is! Tone, texture, colour all delivered with infinite poise and panache. To be frank I found it quite devastating. The haunting opening movement was like a silken spider's web woven under moonlight - delicate yet powerful ... In the movements that followed we were treated to a golden era Hollywood string tone and vibrato that was so perfect I was almost moved to tears. Then we were thrust head first into swirling Hitchcockian vortices laden with ominous tension. A feature of this (and the evening as a whole) was the extraordinarily inventive and effective percussion that added such verve and dynamics; also the use of twin harps was most evocative. The Charles Ives was for me the only "miss" of the evening which lacked the musical scope to give full rein to either the synth team or orchestra. Next. It was time for a potent shot in the arm of analogue synth goodness which was duly delivered by the John Carpenter. What a work out it was for the nine synths, such complex and colourful 80's throwback polyphony with a gorgeous pulsating bass synth forming the backbone. I do wish this was available on streaming as it was pure entertainment. The orchestra returned to the stage for the Vangelis. This music has never captured my imagination like it has for many but it was impossible not to be moved by an incredibly rich and multilayered performance that as you would expect delivered a huge soundstage, with a synth at the front of the stage doing a convincing grand piano impersonation for the main theme ... Next we had the Doctor Who which was muchly fun, a suitably inventive brief tribute to the BBC Radiophonic Workshop, which came with orchestral support. After the interval we had the utterly extraordinary Archimedes Suite by Will Gregory, leader of the Moog Ensemble and one half of Goldfrapp. Written for an imaginary Archimedes biopic there were nine movements, each one of which had a theme about his life that was introduced to us with a short-ish speech, so that we could envisage it as the music played. The maths was rather beyond my O level reach but each introduction was as witty as it was informative. I cannot begin to explain how endlessly inventive and entertaining this rich, vibrant composition is, so the link is provided below for you to take a listen. What struck me as a whole, apart from the sheer talent of all involved was the way the synth crew and orchestra integrated with each other so seamlessly. An unexpected perhaps, but masterful meeting of creative minds. I have to mention one particular movement based on Archimedes's devastating Heat Ray weapon, the solar power of which was suitably harnessed in its musical interpretation. Imagine a modulating synth drone that builds and builds until it delivers its crusing death blow. The climax was cataclysmic. What a triumph and joy this was, we need a Part 2 and soon please, Barbican programmers! 
|
|
|
|
Post by julesd68 on Oct 14, 2024 13:50:50 GMT
Wigmore Hall - 11 Oct 2024
Anne Sofie von Otter - mezzo-soprano Kristian Bezuidenhout - piano
Schubert - Schwanengesang D957,Allegretto in C minor D915, Adagio in G D178D957 is such a gorgeous work but dwells in the deepest of our emotional experiences, dealing in love lived and lost. Because of this the demands on the soloist are not insignificant and a singer of the calibre of Ms Van Otter are an absolute must. I am delighted to report that she is still in imperious form and commanded an entirely rapt lunchtime audience. Purity of tone is a given but what really struck me is her innate ability to inhabit the role and her storytelling was compelling. As is her vocal agility, so lithe to respond to the shifting sands of emotions where pianissimo bursts into fortissimo in a heartbeat. I thought the slower songs favoured her the most, in which her tone and range seemed most controlled. A deeply felt and sincere performance, one couldn't ask for more. And how lucky we were to have a pianist of the calibre of Kristian Bezuidenhout! Utterly attentive, sensitive and thoughtful accompaniment; indeed a perfect pairing. Ms von Otter has been known to favour a left-field encore, I read that she once sang Abba's Thank you for the Music in this very hall! I'd love to know what she performed for us - it wasn't a song as such, it was spoken German with a piano accompaniment. If only we knew what it was about!
|
|
|
|
Post by MartinT on Oct 14, 2024 14:29:51 GMT
You missed Schubert as the composer as not everyone will know he has 'D' opus numbers. I have never had the pleasure of hearing Ms. von Otter but she has quite a reputation so I remain hopeful. She is Swedish so why not Abba? That would be truly excellent and separate the fusty types from real music lovers  |
|
|
|
Post by julesd68 on Oct 14, 2024 14:40:40 GMT
Lol - yes I'd have been happy with a bit of Abba!
|
|
|
|
Post by julesd68 on Oct 17, 2024 14:32:03 GMT
Wigmore Hall - 11 Oct 2024
Kathryn Stott - piano
Musical Postcards: Farewell to London
Bach, Johann Sebastian (1685-1750) Well-Tempered Clavier 1: Prelude and Fugue No. 1 in C Major, BWV846
Boulanger, Lili (1893-1918) Thème et variations
Fauré, Gabriel (1845-1924) Barcarolle no. 4 in A flat major, Op.44
Ravel, Maurice (1875-1937) Jeux d'eau
Grieg, Edvard (1843-1907) 6 Lyric Pieces: Wedding day at Troldhaugen, Op.65 no.6
Piazzolla, Astor (1921-1992) Milonga del Angel (arr. Kyoko Yamamoto)
Shostakovich, Dmitri (1906-1975) Prelude and Fugue in D minor, Op.87 no.24
Fitkin, Graham (b. 1963) Scent
Rodgers, Richard (1902-1979) The Sound of Music: My Favorite Things (arr. Stephen Hough)
Shaw, Caroline (b. 1982) Gustave Le Gray
Chopin, Fryderyk Franciszek (1810-1849) Mazurka in A minor, Op.17 no.4
Grainger, Percy (1882-1961) Molly on the Shore Vine, Carl (b. 1954) The Anne Landa Preludes: Short Story
Fitkin, Graham (b. 1963) Rapid Unscheduled Disassembly
Well it's genuinely sad to have to say goodbye to the stage career of a quite wonderful pianist but this solo recital was certainly a fine celebration of her diverse repertoire and abilities. She performed works from a wide range of composers and countries that she has a special bond with.
It's impossible for me to do full justice to my admiration for her playing but I will say that as this performance amply reminded me, she is a pianist who doesn't seem shackled or driven by ego. She doesn't force a personality onto the music, she lets it speak for itself in the best possible way. This was evident in every single piece she played, it's really quite remarkable to deliver such compelling readings across such hugely differing genres.
I was entranced throughout and could quite happily discuss all the above delights but will make mention of a few personal highlights. She has a special feeling for Ravel and impressionistic French works as a whole - her recording of Debussy and Ravel has long been a favourite of mine. The sense of flow, so liquid, creating a burst of energy that starts as a ripple and then surges with extraordinarily dynamic power and movement. The Piazzolla positively smoldered with louche late night exoticism and a hypnotic, sensual sway; having lulled us with its intimate charm, the music suddenly explodes with overt passion. Stephen Hough's athletic arrangement of My Favourite Things was quite virtuosic yet great fun, so joyful ... I luxuriated in a Chopin Mazurka that I know so intimately, my son having studied it for an exam, so a certain nostalgia and pride heightened my enjoyment of this quite gorgeously melodic and wistful romantic work. And then the Shostakovich Fugue that seemingly out of nowhere develops into something so driven and intense, absolutely pulsing with humanity and energy.
Kathryn still has a limited number of concerts left on this farewell tour - there is so much to enjoy on this programme, don't miss it if you get the chance!
|
|
|
|
Post by Slinger on Oct 17, 2024 15:06:23 GMT
I must admit to not being a huge fan of solo piano pieces, but there are some great choices there, including one of my favourites, "Wedding day at Troldhaugen". How many changes of tempo?  |
|
|
|
Post by MartinT on Oct 17, 2024 15:10:40 GMT
I think the Bach would undoubtedly be my favourite. Well-Tempered is really some of the greatest piano music out there.
|
|
|
|
Post by julesd68 on Oct 22, 2024 18:02:54 GMT
Wigmore Hall - 15/10/24
Sasha Cooke - mezzo-soprano Malcolm Martineau - piano
Debussy - Chansons de Bilitis
Alma Mahler - Die stille Stadt /Bei dir ist es traut / Ich wandle unter Blumen / Laue Sommernacht In meines Vaters Garten
Gustav Mahler - Des Knaben Wunderhorn: Rheinlegendchen / Wo die schönen Trompeten blasen / Verlorne Müh
Wagner - Wesendonck Lieder
Scott Ordway - Expanse of my Soul (UK première)
A seductive programme all about love. Erotic love, romantic love and tragic love ...
We opened with the Debussy which unfortunately lacked the lithe sensuality one might crave here and I sensed that Ms Cooke's voice was not so comfortable with this music ...
But that need not detain us, straight onto the Alma Mahler - ah, German repertoire, yes that's much better for Cooke's powerful, slightly steely but highly expressive voice. Listening to Alma's songs you feel her lighter fare compares very favourably with her husband's but soon Gustav pulls out his ace in the pack, "Where the splendid trumpets sound" - a profound song about a soldier about to depart for war. The vocal is entirely befitting, utterly sincere (as was her entire performance) and it's impossible not to be drawn into the unfolding tragedy.
But then Richard Wagner steps up to the plate to outdo them all with his immortal Wesendonck Lieder, which for me are next level in terms of sheer musicality. Im Treibhaus (In the greenhouse) is simply one of my favourite songs ever, period. Utterly devastating and deeply felt, I am transfixed as Cooke's soaring vocal takes me into another world, in which I imagine the inherently nihilistic journey of a lost soul lurching towards the edge of the void ...
This fine recital finished with a new and charming work that puts to music intimate poetry written between Cooke and her husband. An encore was welcomed by all, a beguiling short song written as a tribute to her mother who was in the audience on her birthday.
|
|
|
|
Post by julesd68 on Oct 25, 2024 14:36:35 GMT
Queen Elizabeth Hall, Southbank Centre - 13/10/24
Orchestra of the Age of Enlightenment Adam Fischer - conductor
Bruckner: Symphony No.5
This is not an easy symphony to do full justice to. But with this exceptional combination of orchestra and conductor I enjoyed a five star experience. Right from the off I was struck by how secure the performance was in the hands of Fischer who had obviously prepared the orchestra meticulously and he proved to be an arch navigator of the twists and turns of the work. What supreme clarity we enjoyed from the OAE, where every theme flowed so effortlessly and was so easy to follow. I was also struck by the quality of the playing in the most hushed of passages. Make no mistake, this is an outstanding orchestra in every regard.
The orchestra plays with period instruments but don't think that means a much warmer sound like that of a Baroque outfit. The brass were a little more mellow than one is used to but they were still mighty potent and shifted some serious air when called upon!
I didn't feel the need to get too bogged down in the work as an expression of Bruckner's devout Christian faith, I simply revelled in the purity of the musical expression. No more so than in the quite achingly beautiful theme of the second movement's Adagio which it was easy to be consumed by. And then the humour of the Ländler waltz in the Scherzo that feels almost absurdist given the weight of the sincerity of the music that precedes and follows it. Ah yes, those fiendishly complex machinations of the fugal finale, a cataclysmic climax every bit as thrilling as I had hoped! An exercise in technically brilliant composition that is equalled by its emotional impact. The sound was utterly monumental, as if hewn from the finest Austrian granite.
|
|
|
|
Post by julesd68 on Nov 4, 2024 15:00:23 GMT
Barbican, London 23/10/2024
Mahler 2
London Symphony Orchestra -
Michael Tilson Thomas
Siobhan Stagg - soprano
Alice Coote - mezzo-soprano
London Symphony Chorus"The whole thing sounds as though it came to us from some other world. I think there is no one who can resist it. One is battered to the ground and then raised on angel’s wings to the highest heights.”
Gustav MahlerEveryone had read the script. The performance had to be perfect for MTT on this most emotional of evenings and it was ... I look on this symphony as a toss of a coin, captured in slow motion - death is on one side and resurrection the other. We know what ultimately wins the day but with MTT on the podium it's one helluva ride. Right from the off one is entranced by sublime, soaring uplifting melodies but within the blink of an eye it's as if the hounds of Hades whisk you away to darkness, do not pass go and no life insurance payout. What an extraordinary first movement, is there anything better in the repertoire? I'm not sure there is for me. And so it ensues with the most devastating and thrilling of climaxes with the two sets of timpani absolutely on fire. The brass solos! So immaculately performed, with staggering breath control and perfect intonation when so exposed in those hushed moments. There's that captivating exchange between the oboe and Alice Coote that has me in raptures. Let's not forget the full compliment of basses, with such a prominent role in driving the work forward at crucial stages. They went about their work with zest and ardour. I must mention the performance of MTT himself, vastly experienced in Mahler and hence so at ease with the music, almost serene at times but always busy and at one point scolding the violins with great animation into giving him more. I don't think I have ever sensed such a rapt audience, there was a sense of tension in the hall with hardly a sound coming from the audience - I think at some points we might have forgotten to breathe with the cathartic intensity of this music. I felt my body tensing in the moment and had to remind myself to relax ... After that incredible final movement that almost defies description the applause could have gone on forever; so much love in the room for MTT. I'm just not sure if I've ever heard an orchestral performance that has satisfied me quite to this level. I am honoured to have witnessed this triumph. 
|
|
|
|
Post by MartinT on Nov 4, 2024 16:40:39 GMT
Fantastic outcome, Jules.
There is nothing like a Mahler 2 on fire, and I've seen a few.
|
|
