Prom 61 – Renée Fleming (soprano), Royal Stockholm Philharmonic Orchestra / Sakari Oramo
Andrea Tarrodi Liguria (2012) (UK premiere)
Barber Knoxville: Summer of 1915, Op 24 (194)
Richard Strauss Daphne – Transformation Scene, ‘Ich komme – ich komme’ (1937)
Nielsen Symphony no.2, ‘The Four Temperaments’ (1901-2)
Royal Albert Hall, Wednesday 30 August 2017
You can listen to this Prom here for 28 days from the date of the performance
In her previous visits to the Proms Renée Fleming has proved a big draw, and although the arena may not have been full for her latest visit, with regular collaborators Sakari Oramo and the Royal Stockholm Philharmonic Orchestra, it comprised a satisfying and ideally executed program.
Fleming’s contributions grouped into a loose theme of distant light and transformation. Barber’s Knoxville: Summer of 1915 is a love letter to the American home, and its dappled evening sunlight flickered beautifully under the hands of Oramo, the composer’s warm harmonies setting the scene for Fleming’s characteristically full bodied interpretation. She inhabited the storyteller’s guise with effortless and instinctive calm, though the animated middle section was also very well judged. With just the right amount of sentimentality, this was an ideal performance, and an aptly chosen encore of the song Sure on this shining night blazed a similar trail.
Fleming’s projection was ideal, particularly in the Transformation Scene from Richard Strauss’s second opera Daphne, where she moved from the front to a well-chosen offstage position for the culmination of the transformation itself, which sees Daphne take on the form of a laurel tree. The extended postlude from the orchestra reached upwards to a serene level of euphoria, and Fleming’s wordless vocalise at the end put the seal on a beautifully judged performance. Again we had an encore, and this was a special account of Strauss’s own orchestration of his best-loved song Morgen, with rapt solo from orchestra leader Andrej Power.
If anything the other two pieces were even more successful. The music of Andrea Tarrodi was new to the Proms, but on the basis of the orchestral piece Liguria this was extremely unlikely to be her only appearance. A colourful account of a visit to the Italian coast, Liguria is a kind of symphonic lettercard, its six scenes recounted in brightly lit orchestrations. The recurring, creeping brass harmonies from the first scene stood out, and reappeared towards the end, but also notable was the assurance with which the Swedish composer works with the orchestra, making original sounds and not resorting to contemporary music clichés. A composer whose acquaintance you are strongly advised to make.
Finally we heard Carl Nielsen’s Second Symphony, ‘The Four Temperaments’, receiving its second Proms performance in three years after the festival’s complete neglect of it in the 20th century. It is a powerful piece, and this account made a strong impression. Although the feverish first movement (Choleric) was convincing and brilliantly played the emotional centre lay in the Melancholic third movement, where Oramo wrought music of impressive angst and depth. Nielsen’s struggles were resolved by the Sanguine finale, where the composer lets rip perhaps a little too easily, but again the structure and the melodic groups made perfect sense. Oramo has built a strong affinity with the Danish composer’s music over the years, and there was something very satisfying in these days of disunity at seeing a Finn conduct a Swedish orchestra in Danish music.
Stay tuned for the next in Arcana’s Ask The Audience series, where Leanne Mison will give her verdict on the Royal Stockholm Philharmonic Prom. Coming shortly!