Jiří Bělohlávek conductor
Sarah Fox soprano
Jana Hrochová Wallingerová mezzo soprano
Josef Špaček violin
|Bruch||Violin Concerto No 1||24’|
|Mahler||Symphony No 2, Resurrection||8|
Mahler’s epic Resurrection Symphony has a very special place in the hearts of Birmingham audiences, and the opportunity to hear it played by an orchestra steeped in Mahler’s native central European tradition makes this one of the undoubted highlights of our season.
Birmingham’s own, world-renowned CBSO Chorus joins the Czech Philharmonic’s veteran music director Jiří Bělohlávek.
You can listen to a specially created playlist by clicking here .
Review by Robert Gainer, BachTrack:
Click here for full review
… “This was an excellent programme choice, a highly popular work from a German contemporary of Mahler, but centred on the romantic tradition that contrasted perfectly with the symphony’s soul searching solemnity. The virtuosic challenges were met by the Czech Philharmonic’s young leader, Josef Špaček. From the outset the conductor and orchestra were on top form, gauging the tempo, balance and warmth of sound perfectly. Špaček did not so much play over the orchestra, but worked within it, delivering an astoundingly mature performance for one still under thirty. His tone is rich and full and he was able to meet the technical demands of the concerto without any unnecessary fuss.
Rather than egotistically showcasing his lightning dexterity, Špaček is an unassuming musician who explores the finer nuances of the music and causes the listener to concentrate more on his interpretation than his skill. This was particularly noticeable in the Adagio where his phrasing matched and complemented the collective with lyrical precision. Špaček ensured the audience got more than a programme-filler with this concerto, and their response to him signalled that he completely won them over.
After the interval a lone figure looked down at the stalls from the magnificent organ over the rows of the choir seats accommodating the CBSO Chorus. They, in turn, sat above all conceivable manner of timpani, percussion, gongs and harps overseeing the large stage crammed full to the brim with the sections of the orchestra. At the centre, Jiří Bělohlávek somehow had to control this colossal cast. Furthermore he had to do so before a concert hall that has seen other great conductors, such as Andris Nelsons, deliver this piece to great acclaim. Indeed, the symphony has a special significance to Birmingham Symphony Hall, being the first piece ever performed here at its inaugural concert by the CBSO under Sir Simon Rattle. Could the Czechs, promising so much before the interval, deliver on the expectations that they had aroused?
The opening chord from the violins immediately dispelled any doubt, creating a tension that Bělohlávek never let up for a moment. The basses were strident and bold in their entry and the long first movement was underway. The balance between sections was consistently good throughout, regardless of the dynamics which went from a barely audible pianissimo to thunderclap fortissimo at the flick of Bělohlávek’s fingers. Here was a man in total control of a unified world class orchestra. There are no weak areas in orchestras of this quality, however one could not help but be impressed with the French horns as they paired sympathetically with the other instruments, reflecting through tone and timbre the ever-changing moods and dramatic dynamics of the piece. ” …
Review by Geoff Read, SeenandHeard, MusicWeb:
Click here for full review
… “Bělohlávek allowed a two-three minute break before the second movement, in keeping with Mahler’s wishes (although perhaps slightly more than he had planned in order to settle everyone down after the annoying ripple of applause that greeted the two soloists). The triple-time of the Andante moderato was overtly stated by the baton of the ex-BBC SO maestro, the initialLändler theme clearly stated without any need for flamboyancy of stick; it was given a delightful airiness by the sonorous strings led by Irena Herajnová. Creating a contrast to the unresolved tension of the previous Todtenfeier as Mahler intended, there were further idyllic glimpses into the past life of our hero. A wallowing contentment among the Czech Philharmonic players infectiously penetrated the auditorium, culminating in the fluffiest of finishes from the pizzicato strings and the two harps.
The importance of the string section was underlined in the third movement, In ruhig fliessender Bewegung (with quietly flowing movement) yet the carefree attitude of youth had developed one of uncertainty and disenchantment. Based upon the song ‘St Antony and the Fishes’ its poetic makeup was peppered with cymbal crashes, piccolo squeaks and woodwind palpitations, together with a heroic reminder to the Titan of Symphony No 1.
Jana Hrochová Wallingerová instilled the necessary prayer-like atmosphere to the ‘Urlicht’ (Primal Light) a song from Des Knaben Wunderhorn; her opening O Röschen Rot! (O little red rose) was simply and sincerely stated, yet conveying vulnerability as befits man returning to God. While the attentive auditorium held their breath for the first four lines, the solo was given some heavenly oboe accompaniment. Then as the pace quickened with Da kam ich auf einen breiten Weg (There came I upon a broad path) it was the turn of leader Herajnová to add a luxurious lustre to the mezzo voice.
Judgement Day arrived with an almighty orchestral amalgam of sound for the fifth movement, In tempo des Scherzos – Langsam: Mysterioso. After the fade, expertly engineered by Bělohlávek, the first call from the off-stage horn was heard. A wonderful kaleidoscope of instrumental colour and texture from the orchestral ensemble followed, creating a feeling being in limbo. The dead were summoned with an amazing crescendo from the seven-strong percussion section, cut off with pinpoint precision. The return of the ‘March’ theme produced some fantastic ‘surround’ sound, superbly galvanised by Bělohlávek. The far-off brass, both left and right, plus fluidic tremolo from flute and piccolo introduced the hushed CBSO Chorus; initially seated as is their want, they delivered an intensity to Klopstock’s Aufersteh’n, ja aufersteh’n (Rise again, yes, rise again) – a hair-tingling moment. Again the combined sound as Sarah Fox joined choir and orchestra was admirably balanced by Bělohlávek. As the drama of the resurrection was played out to Mahler’s additional text, Wallingerová’s O glaube, mein Herz, O glaube (O believe, my heart, O believe) was passionately rendered and Fox’s nicht bright and clear. Their two voices blended well for the duet O Schmerz (O pain) convincing in their conquest over death. Rising to sing Sterben werd’ ich (I shall die) – who could sing this mighty statement sitting down? – the full complement of performers glorified this ‘Resurrection’ in uplifting fashion.”