Welcoming Mirga

Welcoming Mirga Gražinytė-Tyla

Friday 26th August, 2016, 7.30pm

City of Birmingham Symphony Orchestra

Programme

  • Mozart The Magic Flute: Overture, 7′
  • Abrahamsen let me tell you, 30′
  • Tchaikovsky Symphony No. 4, 44′
A new era in Birmingham music – and Mirga Gražinytė-Tyla opens her first concert as Osborn Music Director with the overture to Mozart’s joyous fable of hope and renewal. Tchaikovsky’s passionate autobiography of a Fourth Symphony and a set of magical, Shakespeare-inspired songs performed by one of the world’s most adventurous living sopranos complete Birmingham’s most eagerly anticipated concert of 2016.
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Encore – Tchaikovsky – Sleeping Beauty, final variation and coda. 

Sponsored by

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Review by David Hart, Birmingham Post:

Click here for full review

…     “The sense of occasion was almost palpable. Even Mozart’s Magic Flute overture fizzed and sparkled with a clarity and subtlety we rarely hear in such a well-worn opener. And at the end of the programme Tchaikovsky’s Symphony No. 4 transcended its fanfare opening to develop into something of a musical quest, lovingly and elegantly sculptured by this remarkable young conductor (strings wonderfully effulgent, woodwind singing with nostalgia), which, after characterful middle movements, concluded in a glorious peroration of life-affirming joy. 

An even more impressive vehicle for Gražinytė-Tyla’s musicianship and technique was Hans Abrahamsen’s Shakespeare-inspired 30-minute vocal monologue ‘let me tell you’ for soprano (the stunningly brilliant Barbara Hannigan, who has made the work her own). […]

[…]     So – has the CBSO at last found a worthy successor to Andris Nelsons? You bet they have. In just one evening we witnessed exactly what the Mirga magic can do. And this is just the start. “

*****

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Review by Andrew Clements, Guardian:

Click here for full review

…     “The drama that had been latent in the performance of the overture erupted in Tchaikovsky’s Fourth Symphony in the second half of the concert. Technically, it was impeccable – it may be a standard repertory piece, which the CBSO has played under Nelsons and his predecessor Sakari Oramo, but this was just that bit more vivid than usual, more generously characterised in every detail. Gražinytė-Tyla seems to have that precious conductor’s knack of allowing players all the expressive freedom they want, while still being able to shape every aspect of a performance in exactly the way she wants.

The bewitching centrepiece of the evening was a repeat performance of one of the most remarkable works the CBSO has introduced in many years. In 2014, Nelsons conducted the UK premiere of Let Me Tell You, Hans Abrahamsen’s spellbinding song cycle, with a text by Paul Griffiths, taken from his novel of the same name, itself woven around the character and words of Ophelia in Shakespeare’s Hamlet.”     …

*****

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Review by John Quinn, SeenandHeard, MusicWeb:

Click here for full review

…     “As for Barbara Hannigan’s singing, it was quite astonishing. Abrahamsen makes demands on his soloist that are almost unreasonable at times – though Miss Hannigan was closely involved in the composition process, I understand. Every challenge, not least those which involved the extreme registers of her voice, was met with compete assurance. There are many things that I admire about this work but one of them is the nature of the writing for the voice. Abrahamsen requires his soloist to deploy quite a number of vocal effects during the piece. However, unlike many contemporary composers, at no time does he expect his soloist to do anything other than sing. In other words, there’s nothing outlandish or ugly in the vocal writing.

Barbara Hannigan displayed extraordinary control and technical accomplishment during this performance. Furthermore, this was a performance that engaged totally both with the music and with the audience. Part II is the section of the work that uses the largest orchestral forces and there were a number of times when the accompaniment rather drowned the soloist – that’s not a criticism of the orchestra, by the way. Part III is simply spellbinding, the music slow-moving and rapt. This is music of the utmost refinement and eloquence and it received here a performance that was completely worthy of Hans Abrahamsen’s extraordinary musical imagination. The whole of let me tell you is a wonderfully imaginative creation but the invention and inspiration reaches a peak in Part III. It was a tribute to the quality of both the music and the performance that the audience was clearly absorbed in the performance. Both Hans Abrahamsen and Paul Griffiths were present and they, as well as the performers, were most warmly applauded. let me tell you is an extraordinary score and I was thrilled to experience it live. My only hope is that now that Barbara Hannigan has so successfully launched the work other sopranos will take it up so that it establishes the secure pace in the repertoire that it deserves.    […]

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The finale, taken attacca, was as fast and brilliant as I’d expected. But to describe the performance simply in those terms would be grossly unfair for amid the festivities there was further evidence of this conductor’s attention to detail. One example occurred within the first couple of minutes where the woodwind have a succession of chords, each marked with a crescendo. Each and every one of these crescendi was individually cared for by Miss Gražinytė-Tyla. It sounds like a small point but it isn’t; these chords can go for nothing – or very little – in the excitement of performance but here they made their mark yet without any feeling of exaggeration. The performance as a whole was thrilling and when the ‘Fate’ motif returned the theme blazed out from the CBSO’s brass section – which was on collectively fine form throughout the evening. The ending was exhilarating as Mirga Gražinytė-Tyla whipped the orchestra to an electrifying conclusion.

Predictably this superb performance was greeted by a huge ovation and after several minutes of highly enthusiastic applause Mirga Gražinytė-Tyla emerged once more onto the stage but instead of coming back to the podium she climbed the risers at the back of the stage, picked up the music stand in front of one of the CBSO’s percussionists and led him, triangle in hand, to a much more prominent position on the platform from where he proceeded to play a key role in the short, witty encore which I couldn’t initially identify but now understand – thanks to the comment sent in below – was from Tchaikovsky’s Sleeping Beauty.

I have to report that Miss Gražinytė-Tyla then faced a first-night mutiny. The orchestra resolutely refused her requests to stand, insisting instead that she should take a bow by herself. This gesture suggested that the orchestra has already formed a strong relationship with their new music director but, frankly, that was evident throughout the evening in performances of commitment, skill and freshness. The orchestra repeats this programme at the Proms on Saturday 27 August. It will be broadcast live on Radio 3 and recorded for television transmission in early September so a much wider audience will get an early chance to experience this new musical partnership in action.

So, the Mirga Era has been well and truly launched in Birmingham. Buckle up: I think we’re in for an exciting ride.”

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Reviews for BBC Prom 55 27th August, 2016- same programme as at Symphony Hall:-

Review by Mark Pullinger, BachTrack:

Click here for full review

…     “And what a landscape Abrahamsen paints, clusters of microtones over the soft tread of xylophone ostinatos, silvery piccolo shards of glass and spectral high violins. Glockenspiel, celesta and harp daub their icy tintinnabulations, while paper is grazed over the skin of the bass drum. Even if Hannigan’s words did not always carry across the Royal Albert Hall’s difficult acoustic, under Gražinytė-Tyla’s hypnotic beat, the music entranced.

The interpretation of Tchaikovsky’s Symphony no. 4 in F minor was full of thought and incident. The fateful opening fanfares were crisply delivered – with meticulous care over dynamics – and the development section was lovingly caressed, although momentum sagged once or twice. Gražinytė-Tyla’s energetic conducting clearly signals what she wants, from the flick of the wrist to a left-hand ‘claw’, a hip wiggle to a slowly raised hand giving the lower brass free rein. She wields a baton with dramatic flair, but in the pizzicato Scherzo she led with an inviting hand and a graceful smile. A couple of pregnant pauses displayed bags of personality and only the symphony’s coda, the percussion leading off a tad too fast, threatened to derail her, but a quick recovery led to a triumphant finale.

Clambering to the back of the platform to retrieve a percussionist’s music stand, Gražinytė-Tyla brought it – and him – to just behind the second violins, his triangle launching the Diamond Fairy’s sparkling variation and coda from the final act of The Sleeping Beauty. “See you in Birmingham!” she piped while its final note still resounded. No doubt about that.”

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Review by Doundou Tchil, ClassicalIconoclast:

Click here for full review

“Mirga Gražinytė-Tyla and the City of Birmingham Symphony Orchestra  in a truly sensational Prom 55 at the Royal Albert Hall, an occasion which those of us lucky enough to have been there will not forget. The CBSO is unique. Its members have an uncanny knack for picking relatively unknown conductors and growing with them.  They picked Simon Rattle as Music Director when he was 25, Sakari Oramo at 31, Andris Nelsons at age 30, and now Mirga Gražinytė-Tyla, also 30.  This symbiotic relationship between orchestra and conductors makes the CBSO what it is: a very different dynamic from the usual way orchestras are run.  In each case the orchestra shaped the conductor as much as the conductor shaped the orchestra.  This close relationship – like family, some say – is fundamental to understanding the orchestra and, indeed, its conductors, who carry the CBSO imprint with them just as much as the orchestra developed duringn their stewardship. The CBSO is easily one of the Big Five in British music, and absolutely world class.  Mirga Gražinytė-Tyla has a lot to live up to, but from this Prom, it’s clear that she has what it takes.     […]

[…]     The Overture to Mozart’s The Magic Flute sparkled: clean, shining brass, vivacious winds, strings whizzing along with manic brio. So expressive that the spirit of the opera – and its composer – seemed to materialize. Magical, yes, but also with diabolic fervour.  In the opera, Tamino is tested. Sarastro  is no cuddly father figure.  Thus the discipline in the CBSO’s playing underlined the moral resolve that lies at the heart of the Singspiele, which is by no means a pretty bit of fluff.  Being a Freemason in Mozart’s time was secretive and rather sinister. Gražinytė-Tyla’s background lies in vocal music. Like Nelsons, she could achieve great things if she did opera.  To my delight, she announced plans on the radio rebroadcast for a concert performance of Mozart Idomeneo in a future CBSO season.”      …

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Review by Robert Matthew-Walker, ClassicalSource:

Click here for full review

…      “The singing of Barbara Hannigan (mostly from memory) was exceptionally compelling, and the playing maintained the high standards of the Mozart – but Hannigan, for some extraordinary reason, performed at times to one side of the auditorium rather than centre-stage and tended to project to her left, which obliged half of those in the Hall (on her right, where I sat) to try to catch what she was singing and having to make do by seeing her almost constantly turning away.

(L-R) Paul Griffiths, Mirga Gražinytė-Tyla, Hans Abrahamsen, Barbara Hannigan and the City of Birmingham Symphony Orchestra at the BBC Proms 2016. Photograph: BBC/Chris ChristodoulouBut overall, the influence of Stockhausen came across as being the foundation of Abrahamsen’s score, certainly in the first of its three movements wherein a monotony of tonality (pace Griffiths) is subjected to a few textural variations over too great a length of time (half the work’s 35-minute duration), so that one’s interest is in serious danger of being lost; in addition, the composer’s word-setting tends to inhabit too narrow an expressive range in depicting a teenager contemplating – and achieving – suicide. The performance though was magnificent, and must have thrilled the composer, taking his bow along with Griffiths.”     …

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Review by Richard Morrison, The Times (££)

Click here for full review (££)

“It’s too early to say what personality lies behind the incredibly graceful conducting technique of Mirga Grazinyte-Tyla, the new music director at the City of Birmingham Symphony Orchestra (CBSO). Thirty this year, the Lithuanian clearly has bags of musicality. That was evident within 30 seconds of her starting her Proms (and indeed London) debut, with Mozart’s Magic Flute overture.

The chording was pungently accented; the string phrases lushly nuanced. Like many of today’s young conductors she seems to be (in Boris Johnson’s phrase) “pro cake and pro eating it” when it comes to 18th-century music: timbres and textures that mimic period instruments, but dynamics that would have had Wilhelm Furtwängler nodding approval.”     …

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Review by Amanda Holloway, Critics’ Circle:

Click here for full review

“After a bouncy little encore from The Sleeping Beauty, conductor Mirga Gražinytė-Tyla stepped forward and shouted to the audience: “See you in Birmingham!”

Symphony Hall should be full this season on the strength of this, her second concert as music director of the City of Birmingham Symphony Orchestra, and first Proms appearance. The buzz that surrounded the London debut of the slight, determined 30-year-old Lithuanian conductor was fully justified: her effect on the orchestra is electrifying, very differently from that of her predecessor, the more laid-back Andris Nelsons. She has firm ideas of what she wants – pace and definition – and the orchestra eagerly complies. From the opening bars of the overture to The Magic Flute the energy flew from her baton like a rapier and the orchestra replied with punchy chords fresh from the page. She leaned in to the cellos, urged on the trumpets and, having whipped the orchestra into a frenzy, stopped them dead in their tracks to produce shocking silences.”     …

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Review by Alan Sanders, SeenandHeard, MusicWeb:

Click here for full review

…     “Hannigan is an extraordinary artist. She is rightly described as a “singing actress”, since her repertoire, much of it contemporary, often calls for more than just singing, and she certainly has a most compelling stage presence. Not only does she have a most beautiful voice, but that voice is a most outstandingly agile instrument, for it has a huge range of notes from very high low, and is capable, with great varieties of tone colour, of making sure footed leaps across the most demanding and awkward intervals. Hannigan feels that her Ophelia “role” should be committed to memory, and that she has done. To have absorbed such a rhythmically anchorless and tonally fractured vocal part lasting half an hour, with little respite, is an amazing feat in itself.

To complement this display the orchestra contributes an accompaniment that is for the most part curiously pretty – a strange word to use, maybe, but one that seems appropriate. There’s nothing in the piquant scoring that would seem very foreign to, say, the later Frank Bridge or John Foulds, except that the bounds of tonality are broken more that they would break it. The work’s main drawback, maybe, is that most the music is slow moving, and greater variations of tempo would have enhanced the drama of the text. Both Paul Griffiths and Hans Abrahamsen were in attendance to acknowledge generous audience applause.

The appointment of Mirga Gražinyté-Tyla as the CBSO’s new Music Director has generated a good deal of advance publicity, for here is a 29-year-old young woman, previously unknown to the British public, filling the role previously occupied over the last three decades by Simon Rattle, Sakari Oramo and Andris Nelsons. She had made her debut in her new appointment the previous evening in Birmingham (review), and now she presented the same concert for her London debut.”     …

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Review by John Allison, Telegraph:

Click here for full review (scroll down “Prom 55”)

…     “The toughest test here was Tchaikovsky’s Symphony No. 4, a well-known warhorse full of pitfalls when it comes to pacing. It was no mean achievement that Gražinytė-Tyla, conducting from memory, shaped such a fresh-sounding performance. The opening fanfares poured out generously and the full orchestral punches were sharply etched before this conductor got down to the business of a naturally flowing performance. The symphonic argument in her unhurried first movement was keenly detailed, and the succeeding movements had lyrical warmth and crisp articulation. A compelling force on the podium, Gražinytė-Tyla clearly signals exciting times ahead for the CBSO.”

*****

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Review by Alexandra Coghlan, TheArtsDesk:

Click here for full review

…     “The Tchaikovsky, similarly, had a zest and invention to it that demanded attention even from this most fidgety of Proms audiences. The Fate theme burnt through the hall in cruel fortissimo, musical shock and awe, before the clarinet led us to the ballroom floor for the waltz – a dance whose ghostly strings, wispy and fragile, suggested that the floor might dissolve at any minute leaving us waltzing into the abyss. Atmospheric but always mindful of structural clarity, with a beautifully organic evolving set of tempi, this was the prelude to a big, generous Andantino, the CBSO singing out with Russian heart, a witty pizzicato Scherzo and a Finale that returned us to the fire of the opening. Woodwind soloists shone, while strings found the rhetorical clarity encoded in Tchaikovsky’s phrases.”     […]

[…]     In a curious sleight of hand, the composer’s slow-moving harmonies, often circling around a clear tonic, seem to react when set against shards of musical light from tuned and untuned percussion and high woodwind, lost in woozy clouds of microtones, creating time at once static and swift-moving. If it seems far-fetched to think of these in terms of Henri Bergson’s temps and durée – the absolute clock-time of temps and the psychological flexi-time of durée – it’s an interpretation grounded in Paul Griffiths’s gloriously allusive text (shaped only from the limited words Shakespeare’s Ophelia speaks during Hamlet), which meditates persistently on precisely this: “time of now and then tumbled into one another,/ time turned and loosed,/ time bended”.

At the centre of this still sonic world is Barbara Hannigan (pictured above with Gražinytė-Tyla), the soprano whose extraordinary range and expressive capacity inspired and helped shape the work. To watch Hannigan is to see Griffiths’s Ophelia (a more emancipated, articulate creature than Shakespeare’s) come alive. The tone-colours available to her – from the white light of her denatured purity at the top of her register, to the guttural directness of the bottom – are myriad, and deployed with deft musicality and care. Together with Gražinytė-Tyla and the CBSO she wove a musical tale here all the potent because this Scheherazade, we know from the start, is already condemned to death.

London had better get used to feeling jealous, because Gražinytė-Tyla has just given us one more reason to envy Birmingham her wonderful CBSO.”

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Review by Fiona Maddocks, Observer:

Click here for full review

…     “Graceful, with an almost gymnastic energy on the podium, arms wide-stretched to embrace the full orchestra, Gražinytė-Tyla is never showy, a team player but with natural authority. Sometimes the sound balance was slightly awry, but the Albert Hall, especially compared with Birmingham’s Symphony Hall, plays acoustical tricks and from another area of the auditorium it may not have been noticeable.

Gražinytė-Tyla elicited an incendiary quality from her players, whether in the transparency and precision of Mozart and Hans Abrahamsen – his song cycle Let Me Tell You was given its London premiere by the soprano Barbara Hannigan – or in the dark grandeur of Tchaikovsky’s Symphony No 4. Prom 55 was a “were you there?” kind of event. If you weren’t, you can watch it this evening on BBC4, then on iPlayer. It was as if yet another awkward fence in the long steeplechase of female conductors has been cleared: Gražinytė-Tyla’s CBSO predecessors include Simon Rattle, Sakari Oramo and Andris Nelsons, which needs no further comment.”

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Schumann’s Piano Concerto

Sunday 10th January, 2016, 3.00pm

City of Birmingham Symphony Orchestra

Programme

  • Debussy Prélude à l’après-midi d’un faune, 10′
  • Schumann Piano Concerto, 31′
  • Sibelius  Lemminkäinen Suite, 50′

Beatrice Rana’s encore – Schumann trans. Liszt – Widmung
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We may be in the depths of winter, but these three romantic narratives by composers barely into their thirties should warm the hardest of hearts. Debussy’s faun and Sibelius’s hero are the stuff of legend, their unrequited love expressed in music that is by turns languid, passionate and thrilling. Schumann’s feelings for Clara were only too real, and had been strongly opposed by her father: but once they were finally married, he poured his feelings into this gorgeous concerto. To perform these three youthful masterpieces we are joined by two outstanding young artists: a superb pianist and a conductor who caused quite a stir on her UK debut with the CBSO last summer.
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Has CBSO finally found its next Music Director,
article/ review by Christopher Morley, Birmingham Post :
Click here for full article
…     “So on the second Sunday in January Mirga reappeared, conducting a programme which put so many skills to the test: phrasing with a flexibility which allowed orchestral soloists to make telling contributions, collaborating with a young pianist in one of the world’s best-known concertos (and one not without its pitfalls), and making sense of the jagged structures and kaleidoscopic colours of a gritty large-scale work.She triumphed spectacularly, to huge audience acclaim (and it was a nice bonus to hear the measured clarity of her speaking voice as she informed us of a change in movement-order), and the players seemed highly enthused, too.It helps that she so obviously enjoys conducting, relishing the partnership she shares with her colleagues. It was charming to see her beaming and silently applauding the delivery of important solos, and to see her beaming with pleasure as every effect came off successfully.”      …
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Review by Richard Bratby, ArtsDesk:
Click here for full review
…     “What Gražinytė-Tyla achieved, then, was all the more remarkable. Her ultra-precise beat and balletic podium manner have attracted unfavourable comment from people who fundamentally misunderstand how an orchestra responds to a conductor – or who simply can’t listen. That Gražinytė-Tyla has a distinctive vision – and the power to realise it – was obvious from the rapturous opening bars of Debussy’s Prélude à l’après-midi d’un faune in which she coaxed the strings to match both the colour and texture of Marie-Christine Zupancic’s daringly-soft opening flute solo, and went on to generate an unfolding sense of wonder in which even the rests felt like part of the phrasing: hanging, pregnant with expression, in a breathlessly quiet Symphony Hall.
Sibelius’s four Lemminkäinen Legends made good on the Debussy’s promise. Gražinytė-Tyla has a powerful sense of the single culminating point of a large-scale musical structure, and the idea that these four tone-poems add up to a thinly-disguised symphony has rarely felt so convincing, with Gražinytė-Tyla reversing the conventional order of the two central pieces so that Lemminkäinen in Tuonela became a slow, macabre scherzo, and the dying notes of The Swan of Tuonela served as a sort of prelude to the first drumbeats of Lemminkäinen’s Homecoming. Throughout, Gražinytė-Tyla drew out and relished each fantastical detail of Sibelius’s scoring: snare-drum rattling against a pianissimo rustle of violins, the gurgling woodwind laughter of the maidens of Saari, and the impressionistic blur of sound that introduced Rachael Pankhurst’s tender, improvisatory cor anglais solo in The Swan of Tuonela.
And yet the pacing remained taut, the cumulative build-up and release of energy overwhelming – and the players, leaning into their stands and exchanging discreet smiles, seemed energised.”     …
.Review by Hedy Mühleck, BachTrack:

Click here for full review

…     “She allowed complete freedom in the  wide, soft opening flute lines of Debussy’s Prélude à l’après-midi d’un faune , and moulded the CBSO with elegant movements not unlike those of a dancer. She established an atmosphere of great calm without losing the sense of underlying excited tension and shimmering of heat.

23-year-old pianist Beatrice Rana completed the line-up and seemed ideal casting for Schumann’s only completed piano concerto that had been written for – and championed by – Schumann’s wife Clara. While the opening call to attention and the following lines were slightly blurred by a lot of pedal, her playing was remarkably unobtrusive, her movements minimal and modest, her phrasing clear. Supported by a softer orchestral tone with strong emotional focus, she floated through the first movement with only the briefest instance of rush when an immense distance on the keyboard just could not be travelled safely without use of a small rubato.

She brought out the sweeping upwards lines in the Allegro vivace with a round, full-bodied sound despite distinctly unpretentious playing. It drew all strength of stroke from her fingers and wrists, supported by the forearms; hardly ever did she use the full arm, let alone body for emphasis, gestures remained small, the wrists only lifting slightly to breathe. Minor ensemble issues where the melodic line appears in the orchestra and, in ornamented form, in the piano, were quickly caught and made for a stirring close, complemented by an equally wonderful encore, Liszt’s transcription of Schumann’s Widmung.”     …

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Review by Andrew Clements, Guardian:

Click here for full review

…     “Mirga Gražinytė-Tyla is a 29-year-old Lithuanian, who is currently assistant conductor of the Los Angeles Philharmonic. She conducted the CBSO for the first time last July, and made such an impression with the orchestra and the audience that she was invited back for this specially arranged concert.

It was easy to understand why she has gone down so well in Birmingham. Her platform style is certainly distinctive: Gražinytė-Tyla began with Debussy’s Prélude à l’Après-Midi d’un Faune, applying the dabs of orchestral colour with sharp stabs of her baton, and sculpting the larger shapes of the music with sweeping gestures. But for once such balletic poses really did communicate something wonderfully alive and detailed to the players, a performance with fresh, clear textures and an unswerving sense of shape.

In Sibelius’s Lemminkäinen Suite, too, there was that same attention to every morsel of detail, and the same knack of moulding each of the four movements into a convincing dramatic shape, even in the opening Lemminkäinen and the Maidens of Saari, which can seem rather unruly. The last movement was built to a terrific climax, too, after she had favoured the alternative ordering for the middle two movements, with the Swan of Tuonela third in the sequence, though that hardly helps the narrative that underpins Sibelius’s scheme.”     …

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Review by John Quinn, SeenandHeard, MusicWeb:

Click here for full review

…     “Ms Gražinytė-Tyla reversed the order of the middle two movements, as printed in the programme, so that we heard The Swan of Tuonela third. She may be quite slight of stature but there was no doubting her command in this performance of the Legends. In fact, though the preceding works had shown her in an impressive light I think it was in the Sibelius that she truly came into her own.    

There was conviction and colour aplenty in Lemminkäinen and the Maidens of Saari. The atmosphere of the piece was very well conveyed in an exciting and sometimes powerful performance.  Lemminkäinen in Tuonela is the most dramatic of the four pieces and Ms Gražinytė-Tyla established in the opening bars a high degree of tension which was never lost. I thought this was a gripping performance, especially during the last few minutes, and it seemed to me that both conductor and orchestra displayed a strong understanding of the composer’s sound world. The opening of The Swan of Tuonela was bleak and doleful; Rachel Pankhurst’s cor anglais solos were keening and expressive. The playing of everyone involved in this movement was concentrated and highly controlled. This was eloquent music-making. In Lemminkäinen’s Return his mother has found his slain body and restores him to life, enabling him to ride home in triumph. From the start this performance had terrific drive and energy. The CBSO’s playing was colourful and rhythmically strong, urged on by their highly animated young conductor. Lemminkäinen came home triumphantly.

This was a terrific concert containing three highly contrasted, expertly delivered performances. Musically, each performance was extremely satisfying. On this evidence Mirga Gražinytė-Tyla is already a highly accomplished conductor who genuinely has something to say about the music she conducts. It seemed to me that the CBSO responded very positively to her. Who knows how the process of the selection of the CBSO’s new principal conductor will pan out? But whatever the outcome I hope we shall see much more of this exciting young conducting talent in Birmingham. 

 

 

 

Summer Concert

Thursday 23rd July, 7.30pm

Featuring

Programme

  • Tchaikovsky  Sleeping Beauty (highlights) , 30′

Part 1 – Introduction, Pas de quatre (Act III), Introduction, La Fée-Or, La Fée-Argent, La Fée-Saphir, La Fée-Diamant, Coda, Finale (Act I)

  • Barber  Knoxville, Summer of 1915 , 14′
  • Tchaikovsky  Sleeping Beauty (highlights) , 30′

Part 2 – Panorama (Act III), Entr’acte symphonique (Le Sommeil) et Scène (Act III), Finale (Act II), Valse (Act I)

  • Beethoven  Symphony No. 7 , 36′

Tchaikovsky’s tuneful ballet, Barber’s nostalgic memory of another summer’s day 100 years ago, and Beethoven’s most energized symphony: perfect music for a summer evening.

Tonight the CBSO is joined by an outstanding young conductor, fresh from her recent appointment as Assistant Conductor at the LA Philharmonic, for a programme sure to warm you up whatever the weather!

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Review by Christopher Morley, Birmingham Post:

Click here for full review

…     “She also has the imagination to create her own take on programming, sandwiching Samuel Barber’s dreamlike Knoxville: Summer of 1915 between two huge chunks of Tchaikovsky’s equally dreamlike Sleeping Beauty ballet. The flow worked brilliantly, Talise Trevigne, soprano soloist in the Barber, sliding unobtrusively into position as the first slab of ballet ended, and taking her platform seat at the end of her performance as the second began.

Trevigne’s communication of James Agee’s nostalgic poem was enchanting, her delicate, perfectly-formed delivery smiling in its engagement as it conveyed all the text’s innocent, wide-eyed, childish wonderment.

For the Tchaikovsky Grazinyte-Tyla encouraged a forward orchestral sound, powerful and energetic, but also shaping a delicate lilt to phrasing.

That latter quality was very evident in the allegretto of Beethoven’s Seventh Symphony, coming after a forceful, forward-moving opening movement, and followed by a scherzo as poised as clockwork, and a finale of evident exhilaration, with, given the context, surprisingly understated body-language at the very end. The few bumps along the way didn’t matter very much.”     …