SEEN AND HEARD INTERNATIONAL

SEEN AND HEARD UK CONCERT REVIEW

Wagner, R Strauss, Beethoven: Christine Brewer (soprano), BBC Scottish Symphony Orchestra, Donald Runnicles (conductor), Usher Hall, Edinburgh, 21.3.2010 (SRT)

Wagner: Tannhäuser: Overture and Venusberg Music

Richard Strauss: Songs

Beethoven: Symphony No. 7

 

You can’t get much closer to the core of the Germanic canon than the composers represented here tonight. Donald Runnicles has honed his style in this repertoire over long periods in Vienna and Bayreuth and, most recently, as director of the Deutsche Oper Berlin. Tonight he demonstrated exactly why he is so highly regarded as one of the key interpreters of these composers today. Some see Tannhäuser as a problematic work, but Runnicles showed that the key to appreciating Wagner’s genius in the overture is in drawing out the kaleidoscopic colour of the orchestration. The pale, almost emaciated first hearing of the pilgrims’ chorus was part of a long view that made its return on the trombones, over shimmering, pulsating BBCSO strings, all the more powerful. Throughout the 20-minute span Runnicles showed a tremendous ability to unify the disaparate elements of the work’s character, be it through the tremendous sense of build in the pilgrims’ music or the injection of delirium as the Venusberg section proper began. The chromatic wanderings darted around in the frenzied bacchanal, but gave way at just the right moment to the beautifully hushed moment when the winds play the sirens’ melody. When the great arch finally wound towards its conclusion I felt as though I didn’t need to hear the rest of the opera, so great had the contrast been here.

 

For the songs Runnicles was joined by one of the greatest Strauss interpreters of today. When I interviewed him in February Runnicles told me that Christine Brewer “sang orchestrally” and you needed only to hear these songs to see what he meant. Brewer possesses an extraordinary (and enormous) instrument, but she blended into the orchestral tapestry just as if she were another player. She rode the tide of passion in Cäcilie, surging to a beautiful crescendo on the final refrain, but she toned the voice down beautifully for the gossamer textures of Wiegenlied. This well chosen selection of songs gave both Brewer and the orchestra a chance to show off their diversity, from the funereal Ruhe, meine Seele to the sumptuous Allerseelen, but the greatest moment came in the encore, Morgen, as Brewer’s glorious voice blended with a beautifully crafted violin solo from guest leader Marcia Crayford. Perhaps blend most aptly characterised the conductor’s reading too, every instrument giving itself to the bigger picture and spotlighted with just the correct element of precision when it came to their moment in the sun.

Beethoven’s 7^th took a little longer to get off the ground. The first movement had plenty of rhythmic precision but less of the volcanic energy it needs. The Allegretto was beautifully coloured, though, both in dynamics and well judged rubato, and by the time we got to the finale the performers were well and truly off the leash with an accurately played but hell-for-leather scramble for the finishing line, the strings scything through their music as if their lives depended on it.

So enthusiastic was the home crowd’s reception for this son of Edinburgh that, after many ovations, Runnicles had to physically lead the orchestra off the stage! Who said that a prophet is without honour in his home town?

 

Simon Thompson