Prom 33: Lise Davidsen (soprano), Alban Gerhardt (cello), BBC Philharmonic Orchestra / John Storgårds
Grieg Peer Gynt Op.23 (excerpts) (1876)
Sibelius Luonnotar Op.70 (1913); Karelia Suite Op.11 (1893)
Schumann Cello Concerto in A minor Op.129 (1850)
Hindemith Symphony, Mathis der Maler (1934)
Royal Albert Hall, Thursday 10 August, 2017
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John Storgårds has been making his mark on the BBC Proms in his appearances as Chief Guest Conductor of the BBC Philharmonic. Tonight’s tale of two geographical halves commenced with excerpts from Grieg’s music to Peer Gynt; starting with the lively Overture (hardanger fiddles in evidence thanks to the violas), then continuing with a vehement Ingrid’s Lament, a deftly propelled Morning and a pensive Solveig’s Song undermined by Lise Davidsen’s fluttery vocal; finishing with the suitably quirky Dance of the Mountain King’s Daughter.
Davidsen (above) was then heard to better advantage in Sibelius’s tone-poem Luonnotar, coping ably with the stratospheric range of this singular creation myth – not the least of whose fascinations was having been premiered at the Three Choirs Festival in Gloucester Cathedral. There have been some memorable accounts of this piece over recent years, and if Davidsen did not efface memories of such as Mattila and Komsi, she duly pointed up its drama and mystery in what was, for the greater part, a sympathetic account. The Proms audience was suitably attentive.
Sibelius’s comparatively mellifluous Karelia Suite brought this Nordic first half to its close. Storgårds’s widely contrasted tempi for the Intermezzo left a rather disjointed impression, and while the Alla Marcia sounded rumbustious enough, a certain coarseness of playing rather limited one’s enjoyment. Best by far was the Ballade, one of the composer’s most arresting earlier pieces in its enfolding modal harmonies and given a notably rapt reading with such aspects as the wistful cor anglais melody towards its close eloquently phrased.
The Germanic second half began in more restrained mood with Schumann’s Cello Concerto. Rarely performed for decades (and more often in the transcription for violin), this deceptively genial piece is among its composer’s most ingenious in terms of form and motivic continuity. Alban Gerhardt (above) maintained a determined while never merely inflexible course across its three continuous movements, the BBC Philharmonic providing support as attentive yet unobtrusive as the music required. Interesting to hear that the soloist thought the finale musically the least successful, as this emerged as arguably the most successful part – not least with its engaging dialogue kept on its toes and with no sense of dourness or grittiness as regarded the orchestral texture. Overall, a perceptive and convincing account of a work still too easily overlooked.
Storgårds then rounded-off the programme with a taut and tensile reading of the symphony that Hindemith derived from his opera Mathis der Maler. This retelling of cultural meltdown and social antagonism during the Thirty Years War proved too ‘contemporary’ for the Nazi regime to stomach, and it was no surprise that the premiere of the complete opera took place in Zurich. Storgårds had the measure of the Angelic Concert with its austere chorales and angular though never impersonal polyphony. The Entombment of Christ was affecting for all its brevity, while the climactic Temptation of St Anthony built surely and impulsively from its stark introduction, through a central interlude of tangible pathos, to a culmination such as blazed forth in affirmation. All credit to Storgårds for ensuring so cathartic an impact.
Richard Whitehouse (photo of Lise Davidsen (c) Ole-Jørgen-Bratland)