Baiba Skride: Schumann

Thursday 5th November, 7.30pm

City of Birmingham Symphony Orchestra


  • Wagner  Lohengrin – Prelude to Act 1, 10′
  • Schumann  Violin Concerto, 30′
  • Brahms  Symphony No. 1, 45′

Brahms’s first symphony begins with the pounding of a broken heart, and ends with the kind of melody that comes once in a lifetime. It’s a gripping way for rising star Omer Meir Wellber to make his Birmingham debut. First though, he raises the curtain with Wagner’s magical, mystical Prelude to Lohengrin, and introduces artist in residence Baiba Skride in the dark poetry of Schumann’s only Violin Concerto.


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Review by Christopher Morley, Birmingham Post:

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“If anyone needed converting to Schumann’s enigmatic Violin Concerto, this was the performance to do it, with soloist Baibe Skride so persuasive in her advocacy.

This CBSO Artist in Residence made light of the work’s awesome technical difficulties, multiple-stopping despatched with ease, and instead drew all our attention to the music’s tortured poetry, written at a time when the composer was so poignantly close to insanity.

Her Stradivarius, on loan from another great champion of the work, Gidon Kremer, sang with a dark, wiry tone, confiding hushed intimacies and communicating as in chamber music with the CBSO’s pastel strings. Winds, too, made memorable contributions, not least horns in the finale, which, truth to tell, had begun heavily-footedly under Omer Meir Wellber’s generally empathetic direction. And Wellber should never again cross in front of the soloist to congratulate the concertmaster during the applause.”     …


Review by Richard Bratby, TheArtsDesk:

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…   “The Lohengrin Prelude had felt a little too much like an exercise in static, if sweet-toned, phrase-making – the long line was missing. But here it was, at the opening of Brahms’s First Symphony: back with a vengeance. If the impression so far had been of a meticulous, thoughtful conductor with a hyperactive podium style, from the first bars of the symphony it was clear that Wellber had some seriously large-scale musical ideas – and the power to realise them.

On the strength of this performance, Wellber conceives the symphony as one huge, single-movement span – from expansive opening right through to a finish which, judging from the savage splendour of his brass-torn final bars, it’s doubtful that he sees as any sort of resolution. The conflicts of the first movement lumbered angrily up from the bass line of the second, and this must have been one of the least relaxed performances imaginable of Brahms’s third movement intermezzo. The finale followed almost without a break: the drive and bite with which Wellber lashed into the string figuration of Brahms’s introduction – so often played purely for romantic atmosphere – felt like the tail-end of a development section that still had everything to fight for.

Throughout it all, Wellber unlocked the full, lustrous sonic depth of the CBSO string section – a rare achievement since Nelsons’s departure. If there remained something claustrophobic about his vision (and it was particularly frustrating to hear leader Laurence Jackson and principal horn Elspeth Dutch’s solos locked rigidly into tempo) it was unquestionably compelling. The audience responded with cheers, and the orchestra remained seated when Wellber gestured it to stand, handing all the credit to the young Israeli. It’s been an open secret in Birmingham for some weeks that there is already a clear front-runner for the CBSO’s music directorship. Last night, that contest got a lot more interesting.”


Review by Stephen Pritchard, The Observer:

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…     “Wellber plainly loves this piece. From the first bar he was a man possessed, mercilessly driving the bleak majesty of the pounding first movement and drawing some wonderfully incisive playing from the strings. Conducting without a score, he pounced on every nuance, highlighting the smallest detail in woodwind and brass, and always, always pushing onward that insistent, doom-laden rhythm.

He allowed the sun to break through briefly when the woodwind sang their warm chorale at the start of the third movement but there was much heart-searching to do before we finally reached the broad landscape of the “joy” theme, Brahms’s conscious tribute to Beethoven and a seizing of his laurels, taking the symphonic form in a new direction.

Wellber worked the orchestra intensely hard in this finale and they responded magnificently; I’ve not heard Brahms played as well as this in years. The CBSO is searching for a replacement for the revered Andris Nelsons. Wellber might just be their man.”



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