The spectacular return referred, of course, to the return of the Melbourne Symphony Orchestra to its home, Hamer Hall. The Melbourne Concert Hall (as it was originally called) opened in November 1982. The first venue in what has become the Arts Centre, the Concert Hall was then ahead of its time in size, design and acoustic solutions. But problems emerged over the years, and so a two-year renovation has seen the Hall re-open with new access to the Yarra, more places to eat and drink and most importantly, a reconfiguration of the concert hall itself in the interests of the best acoustics possible.
A Spectacular Return comprises three concerts to celebrate this mighty achievement. Act 1 was designed to demonstrate the new acoustic experience and also to make a strong musical and sentimental link to the old hall. One of the key elements was another return, that of Markus Stenz, popular and highly-respected chief conductor of the MSO from 1998 to 2004. It was almost guaranteed that there would be Mahler on the first program!
The first item, however, could not have been more simple and elemental. Appropriately a first performance, Ross Edwards Water Spirit Song was performed by solo cellist David Berlin. After some awkwardness making his way past a very crowded orchestra to the front of the platform, Berlin revealed a piece that was both solemn and reflective, enhance by the mastery of his performance. Water Spirit Song also provided a reference to the Halls new contact with the newly-revealed river and it was the first test of acoustics: a single instrument in a vast space. It certainly passed the test but the second work, the Australian premiere of Thomas Ades Polaris, brought the full orchestra on stage for what proved to be an acoustic showpiece particularly for certain instruments. Stenz himself drew attention to the brass and the basses, and the harps and strings also were notable for their evocation of the journey into space as the conductor described it. It proved harder to share the conductors enthusiasm for the visuals projected onto two screens at the back of the stage. Video artist Tal Rosner (present in the audience) had conceived the work for its premiere in Miami just last year, which seemed surprising, given the limited use of the medium: some static geometrical patterns and shots of women wandering by the sea. The MSO itself has presented far more interesting visuals, especially in youth-oriented concerts, over the past few years. However, this was the only minor flaw in the nights proceedings.
After an interval (and the chance to explore changes to the foyers as well as the Hall) came the Mahler and the program alerted us to the fact that there would, unusually, be another interval after the first movement of the symphony, with movements two to six to follow. Symphony No.3 is certainly a massive work, of 90 to 100 minutes, with the first movement alone being 30 minutes. Joining the MSO were soloist Karen Cargill and two choirs the women of the MSO Chorus and the National Boys Choir of Australia but they did not appear until after the mighty first movement. Stenzs appreciation of the Halls acoustics for brass instruments was vindicated from the outset, as the horns introduced the first subject, quickly followed by others in the brass section and some percussion. Even when the quietly shimmering strings entered, it was brass players who kept that theme in our consciousness. Notable, too, was leader Wilma Smiths duet with the winds, as the full orchestra did justice to Mahlers nature symphony. Martin Buzacotts program notes quote a letter Mahler wrote suggesting that this symphony was in fact about the world, nature as a whole, that is awakened out of an unfathomable silence and sings and rings. It is an irresistible metaphor, not just for the work but also for this performance and in the context of the return to Hamer Hall. It was clear that the acoustics were delivering the sound that had kept audiences waiting patiently for two years to hear, with the final movements of the symphony bringing contrasting movements and new experiences of the sound in the Hall. Mezzo Cargill, with minimal accompaniment brought a lovely, warm, rounded tone and a volume that swelled as needed. In the fifth movement, the boys choir sounded bell-like, the women appeared to be another section of the orchestra as all combined to create a sound that was more about heaven than earth. The final movement is interesting in being a slow movement, almost sorrowful at first, but swelling to its last, great climax perhaps as never heard before in a Melbourne concert venue. Stenz proved himself yet again to be one of the worlds greatest conductors, and the MSO (and its guests) turned in a performance that would thrill any audience in any concert hall anywhere. We were just fortunate that it happened to be at Hamer Hall with its brilliant new acoustics. This truly was a spectacular return for the MSO and maestro Stenz. Even with Wagner and Beethoven coming up it will be hard to match the impact of this performance! Rating: 4 ½ stars out of 5 A Spectacular Return Act 1 – Mahler’s Third Melbourne Symphony Orchestra Markus Stenz – conductor David Berlin – cello Karen Cargill – mezzo-soprano Women of the Melbourne Symphony Orchestra Chorus National Boys Choir of Australia Edwards – Water Spirit Song Adès/Rosner – Polaris AUSTRALIAN PREMIERE Mahler – Symphony No.3 Hamer Hall, Melbourne August 9
