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Wagner-Passion Beyond Reason : CBSO Concert with Andris Nelsons (Conductor) and Irene Theorin (soprano)  Symphony Hall, Birmingham Jan 29^th 2009 (GR)


Andris Nelsons chose Wagner for his second bite of opera with the CBSO and provided his own prologue to introduce the programme. Addressing a second packed house for this repeat of yesterday afternoon’s concert, he recounted how moving he had found the ‘hypnotic power’ of Wagner in a performance of Tannhäuser at home in Riga – at the tender age of five! Still the new boy in Birmingham, I (and several others) were impressed by his willingness to interact with the audience even before a note had been played. Not many conductors indulge in such an m.o. but for a maestro playing at home, I’m all for it – more please Andris.

Having hooked his public, Nelsons then proceeded to reel them in with the Overture and Venusberg Music from Tannhäuser. There was indeed a ‘hypnotic’ element from the CBSO horns that gently introduced the familiar Pilgrims’ Chorus in the Overture. Moving on, frenetic arpeggios from the strings painted a graphic picture of the temptations inflicted by Venus on Tannhäuser, sensuously emphasised by the fluttering of the woodwind. The real ‘power’ came in the Venusberg Music during the rave on the Goddess’ hill. The change in dynamics as the Three Graces restored calm was well handled, although I did miss the Siren choir.

The second item was the Prelude and Liebestod from Tristan und Isolde. The baton of Nelsons ensured that once again the Tristan chord weaved its magic spell during the Prelude from Act I. I say baton, but at certain intense moments of the score, Nelsons transferred the baton from his right hand to the palm of his left. Was this to allow his fingers greater freedom of expression and manipulate his players? Whatever the reason, it was highly effective. The music ran smoothly into the Liebestod; Iréne Theorin was the chosen soloist. Having performed the role in 2008 at Bayreuth, expectations of the Swedish soprano were high. She began well enough, remembering her beloved Tristan’s smile with genuine affection in Mild und leise, a vision that duly soared at Immer lichter. But as Theorin continued I did not experience any throbbing of her heart or mine at im Busen ihm quillt. As Wagner’s emotive music continued, she was wundervoll und leise. Yet just when Isolde’s ecstasy overflowed at Heller schallend her passion was not beyond reason. (I found myself comparing Theorin with Anja Kampe’s magnetic portrayal of Isolde at this same venue last month. For me, Theorin finished second).

The second half was devoted to Götterdämmerung. The cello section made certain that Siegfried’s Rhine Journey got off to a smooth start. Highlights of the orchestral trip included the reverberating horn leitmotif from Elspeth Dutch, the solid sound of the four Wagner tubas, the poignant oboe/bassoon combination, the changing pace of the river – majestic yet full of interesting eddies. Nelsons varied his podium stance: one moment he was almost bent double steering the front desks, then an upright and proud captain at the helm. This was ‘Passion beyond Reason’ personified, a fervour that was carried over into Siegfried’s Funeral March, for me the highest of the evening’s high points. The cortège started and finished reverently; in between, we were treated to an unforgettable eulogy peppered with the leitmotivs that Wagner used to colour Siegfried’s life. Nelsons led the procession in a crisp and authoritative manner; this was the most glorious of wakes as the exhilarated CBSO (particularly the trumpets and percussion) punched their considerable weight.

Having been on one of Siegfried’s adventures and attended his funeral celebrations, it was time for the cremation, Brünnhilde’s Immolation. Theorin as Brünnhilde displayed the composure required for Starke, Scheite. Transfixed as the libretto implied, Wie Sonne lauter strahlt mir sein Licht was one of the beautiful phrases Theorin delivered. But I failed to perceive the authority required during the creation of the pyre. Although her die treueste Liebe was tender and true, the following line trog keiner wie er that compares Brünnhilde’s love of Siegfried with his betrayal lacked sufficient contrast. Theorin may not have as much power as some Wagnerian sopranos but I empathised with her when she lamented to the Gods and all was revealed to her. As the Rhine music flowed in, Brünnhilde made us realise in Mein Erbe that the Gold must be returned to the Rhinemaidens, the crux of the whole Nibelung saga. The pure drama of the music took over in Fliegt heim. It was infectious and as if inspired by the flames in the pyre and the Valkyrie theme, the voice of Theorin showed something of the dramatic soprano essential for the role. There was a ‘Passion beyond Reason’ as Brünnhilde went into the flames to meet her Siegfried. Out of the ensuing tumult, the CBSO gave a final glimpse of Wagner’s major leitmotivs that permeate The Ring; Nelsons did it full justice – the Ecstasy leitmotiv isn’t so named by chance. As the final chord died away, I’m still not quite sure how Nelsons managed to hold the silence, and the rapturous applause, in check.

The prime example of ‘Passion beyond Reason’ on the night was from Nelsons himself. He transmitted a contagious passion to orchestra and public alike. Having seen his concert Puccini and now a bit of his Wagner, it makes me wonder whether the pull of a major opera house will lure him away from Birmingham, as excellent as their Symphony Orchestra was on Jan 29^th 2009.

Geoff Read


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