United Kingdom Berlioz, Mahler: Anu Komsi (soprano), Philharmonia Orchestra / Santtu-Matias Rouvali (conductor). Royal Competition Corridor, London 1.2.2024. (JR)
Berlioz – Les nuits d’été
Mahler – Symphony No.4 in G main
This was, in all respects, a very lovely live performance.
Berlioz was in the midst of a divorce, although he had met the lady who was to develop into his second spouse, when he put collectively the set of songs we all know as Les nuits d’été. The six songs had been by no means truly meant as a tune cycle; in actual fact, every was devoted to a distinct singer, whose various voice sorts demanded modifications to the unique keys. The Philharmonia Orchestra gave us the model for soprano.
Julia Bullock, the Philharmonia’s Featured Artist this season, pulled out on the eleventh hour, having injured her again and was consequently unable to journey. Her identify and profile had been already within the printed programme. In stepped Anu Komsi, seasoned and skilled Finnish soprano (and spouse of conductor Sakari Oramo). Komsi is a graduate of Helsinki’s famed Sibelius Academy and has carried out with a formidable listing of main orchestras; she additionally, by the way, likes to sing jazz. She has been described as having a ‘dynamic coloratura voice’. She introduced nice theatricality to each the Berlioz and, within the second half of the live performance, to the ultimate motion of the Mahler symphony. I assumed the music and language of the French composer suited her voice higher than the angelic refrains of the Mahler, however she could have had treasured little time to arrange for this live performance. Given the last-minute step-in, she overcame the problem with appreciable aplomb.
Komsi’s radiant soprano was most touching when singing very quietly, nearly inaudibly – the viewers had been enraptured. Komsi sang with delicacy and sensitivity; solely within the remaining, extra dramatic tune ‘L’île inconnue’ did I yearn for some Jessye Norman heft. Komsi’s interpretation was extra within the fashion of Kiri Te Kanawa and Elly Ameling. A pity we weren’t given the textual content of the songs in French within the printed programme or on the subtitle board, the English translation appeared a mite urbane.
Mahler’s Fourth Symphony sits between the epic drama of his Third Symphony and his monumental Fifth. On the premiere in Munich, the viewers had heard his Second, the mighty Resurrection Symphony and located the Fourth a disappointment, in a method they didn’t anticipate. One well-known conductor even delivered a put down, ‘A minimum of it’s quick’. It’s actually a piece of transition, a piece of sincerity and fragility. It incorporates many delicacies; for some, eschewing bombast, it’s even their favorite Mahler symphony. Mahler, saddened by the vital reception of the work, described it as his ‘persecuted stepchild’.
Santtu-Matias Rouvali, at all times balletic on the rostrum, introduced out the interwoven layers with talent, tripping by way of the numerous lovely themes of the pleasant rating and bringing out one of the best from his orchestra. It was not an ideal technical efficiency, however actually a phenomenal one. My consideration was drawn to the fantastic clarinet enjoying of Joint Principal Clarinet Maura Marinucci, and the Chief, Zsolt-Tihamér Visontay for his knowledgeable (and tough) enjoying of the out-of-tune (a tone sharp) violin within the second motion.
A pity that the subtitles failed for a lot of the ultimate motion, so we had been wholly disadvantaged of the fascinating textual content. Komsi’s German diction was not all that clear. If we consequently weren’t transported to heaven, in all probability as a result of last-minute change of soloist, we nonetheless got here away with a smile and a deep sense of repose.
This live performance was recorded and will likely be broadcast on BBC Radio 3 on the night of Wednesday February seventh; and obtainable on BBC Sounds for 30 days thereafter.
John Rhodes
