In a nice piece of synchronicity, while the Games began in Glasgow, the Melbourne Symphony Orchestra embarked on their eagerly awaited cycle of the complete Mahler symphonies. Responding to the colourful invocation of “Let the Cycle Begin”, painted so invitingly on the doors of Hamer Hall, audiences came in substantial numbers to the opening concert. Undoubtedly, word will spread that the MSO is in great form under Chief Conductor Sir Andrew Davis and tickets will become more difficult to secure as the cycle progresses.
A complete cycle of Mahler symphonies appears to be an attractive proposition for many conductors. According to Davis the Mahler cycle “is perhaps the ultimate musical adventure for an orchestra today”. Markus Stenz performed them with the MSO during his seven years as Chief Conductor and came back for the reopening of Hamer Hall with a program built around Mahler’s Third Symphony. This time round, the much less frequently performed Das Lied von der Erde will be included in the Mahler cycle – an especially exciting prospect.
With last year’s brilliant performance of Mahler’s First Symphony by the Australian World Orchestra under the baton of Zubin Mehta fresh in the memory, Melbourne Mahler lovers came with high expectations of the MSO’s version. As it happens, there was some overlap in the personnel, most notably Wilma Smith as Concert Master. Once again, she led with style and assurance, playing her solo passage with finesse. It was small wonder that Sir Andrew kissed her hand in gallant acknowledgement of her contribution as they took their bows.
Using Mahler’s revised version of the symphony, which omits the “Blumine” slow movement played under Mehta, and keeping first and second violins together rather than separated at the front of the stage, this was a different, but still emotionally charged interpretation of the work. The opening passages with the softest haze of sound emerging over a sustained note leading to softly rippling clarinets, punctuated by cuckoo calls and fanfares from off-stage trumpets, was magical and set the tone for what was to be a highly persuasive and controlled performance. Precision, rhythmic elasticity and a wide range of dynamics and colour combined with the virtuosity of the soloists, most notably Principal Horn, to create sharply contrasting atmospheres.
I had thought that Melbourne’s possible over-exposure to Mahler’s music, particularly his First Symphony, would make repeated listening somewhat tedious, but, on the contrary, found that the diversity of Mahler’s expressive palette and the quality of the MSO’s playing made for an even more gripping experience upon repeated hearings. Between the joyous celebration of life of the first movement and the final triumphant conclusion, Mahler takes us on a journey that sometimes feels like an emotional rollercoaster. Clod-hopping peasant dance, waltz, diaphanous string tone and snickering laughter were all part of a vivid second movement, while the slow third movement with its funeral march based on Frere Jacques was given a suitably grotesque character. The shock of the opening of the final movement – the “Cry of a deeply wounded heart” – was followed by the warmest, most exquisitely beautiful playing by the strings, full of surging passion. Almost bipolar mood swings culminated in a positive ending, where the horns stood tall (literally as well as metaphorically) and everybody felt totally uplifted. On both nights enthusiastic applause and cheering erupted before the last note had faded.
It was an inspired idea to combine a Mahler symphony with Richard Strauss’ Four Last Songs. Born only four years apart (1860 and 1864 respectively) they could be viewed as the last of the great German ultra Romantics. Although very different in outlook (one cannot imagine the idealistic Mahler writing Salome and Elektra), a vital connection with nature and song are at the heart of the two works on this program.
Canadian lyric soprano, Erin Wall, demonstrated why she is so much in demand in major opera houses around the world. A thoughtful expressiveness informed every word of the poems by Hesse and Eichendorff and her voice soared over the orchestra for those ecstatic upper notes of heightened emotion. Her soft singing at the beginning of the last verse of Fruehling (“Spring”)was truly beautiful. Although Davis ensured that the orchestra gave the most sensitive support possible to the singer, it was difficult to hear some of Wall’s lower notes from a distance. The very ending was wonderful, with orchestra and singer giving a slow, meditative account of Ist dies etwa der Tod (“Can this perchance be death”), but it was only from relatively close quarters that she could be heard properly. Unfortunately, the acoustics of Hamer Hall sometimes make it difficult to hear singers’ soft lower notes from the Balcony in particular.
As Concertmaster for the Strauss, Dale Barltrop played the poignant solos featured in Beim Schlafengehen with great sensitivity. Warm and tender, his playing matched Erin Wall’s interpretation of the soul’s yearning for rest. The important horn solos in this song and indeed throughout both the Strauss and the Mahler were marked by a rounded, clear tone and expressive musicality. In fact, if any single section of the orchestra had to take the prize for a sterling contribution to the evening’s music making it would have to be the horns.
But it was the orchestra as a whole, with increasing assurance over the two nights I heard it, that created such a satisfying rendering of these much loved Romantic masterpieces. As an instrument to be proud of on the international stage, the Melbourne Symphony Orchestra, its musicians and their audiences, are keen to “Let the Tour Begin”. If this program is any indication, under the baton of Sir Andrew Davis the imminent European tour is bound to be a huge success.
Heather Leviston reviewed this performance at Hamer Hall on July 24.
Picture by Peter Tarasiuk
