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SEEN AND HEARD UK CONCERT REVIEW
Mahler,
Schubert and Dvorak: City of Birmingham Symphony Orchestra with
Karl-Heinz Steffens (Conductor) and Christianne Stotijn (Mezzo). Birmingham
Symphony Hall, 10.2.2011 (GR)
The Birmingham Mahler Cycle rolls on. I’m not saying the wheels came off but
one was distinctly loose on Feb 10th
2011. The series at the Birmingham Symphony Hall had reached the anniversary
composer’s Kindertotenlieder. Having been delighted by the standard
that began last September (see earlier MusicWeb reviews) this song cycle
featuring Christianne Stotijn as soloist was eagerly anticipated. I had
previous experience of the Dutch mezzo at the Symphony Hall during one of the
free Sunday Morning Coffee Concerts a few years ago. Held to promote rising
stars, I thought at the time that she had great potential. Since then this
protégé of Bernard Haitink has received several complimentary press reports,
particularly for her interpretations of Mahler; hence my enthusiasm. Perhaps
it is precarious to build up hopes too high, and whilst there were positive
points, I left the venue frustrated.
The first in Mahler’s
series of Songs on the Death of Children is Nun will die Sonn’ so
hell aufgehn, and the prominent oboe of Richard Simpson and horn of
Elspeth Dutch set the mood of a mother who longs for the sun to dispel the
darkness of the interminable night. But the sheer timbre of Stotijn did not
seem dark enough to complement the mood set by the instrumentalists. I waited
for the crescendo on Licht that offers some hope of respite for the
anguished mother but it never materialised.
In Nun she’ ich wohl, the mother fixates upon the eyes of her departed,
but the reason behind their sparkle as told in the Rückert lines failed to
come across. The closing Sterne was a poignant moment, exploited by
guest conductor Karl-Heinz Steffens and the strings, but it was too little,
too late. The singer must enhance the intensity of the Mahler score, not
simply provide a sober commentary.
The haunting tones from the cor anglais of CBSO’s Catherine Lowe reverberated
throughout the next number – the glorious Wenn dein Mütterlein, my
favourite among the Kindertotenlieder. I thought Stotijn struggled with
the lower ranges required by this one, and the passion entailed on Ach!
below par. It may be unfair to compare her tonal colour to say a Janet Baker
or a Sarah Connolly, artists who both persuade and achieve the tingle-factor,
something Stotijn failed to realize.
The German poet Friedrich Rückert suffered from the loss of his own children,
so much so that he wrote 428 poems on the subject; Mahler set five in his
cycle and Oft denk’ ich came next, the fourth. With its moments
of both despondency and hope, it has a typical Mahlerian undercurrent of
happiness tinged with darkness. Steffens galvanised the CBSO into capturing
the drama of the text; his energy was infectious and Stotijn’s variation in
phrase produced her best story-telling effort of the cycle.
For the final In diesem Wetter,
Mahler draws parallels between nature and parenthood. The apprehension in the
music is vaguely prophetic of events that would befall the composer, going on
soon after to lose a child himself. Stotijn was reflective, but the
chromatically infected melody from the orchestra was the greater contribution
to the mood. The final chords were idyllic – ‘My Mahler’ moment of the evening
(see THSH’s website
www.mymahler.com).
Any blame as to the shortcomings or otherwise of this Kindertotenlieder
could not be laid at the CBSO or Steffens – their backing was exemplary
throughout.
Schubert’s Symphony
No 8 in B Minor started the concert programme, which had been dedicated to
Sir Charles Mackerras, originally scheduled to be on the rostrum. Presumably
the legendary interpreter of Czech music was party to the programme make-up as
Dvořák’s Symphony No 7 in D Minor occupied the second half, completing the
Mahler sandwich. The two symphonic works from Steffens and the CBSO were quite
different in their impact. While the ‘Unfinished’ was somewhat staid
and mechanical, the Dvořák was stimulating and flamboyant. Steffens had a
distinguished career as principal clarinettist of the Berlin Philharmonic
Orchestra before taking up the baton in 2007. Tagesspiegel, a local
newspaper said he was a maestro ‘burning for action’. I got that impression,
although he seemed happier with the romantic style than the classical.
Steffens singled out the woodwind section for first recognition during the
most spirited applause of the evening, and rightly so. The scratch team of
Steffens and guest French leader Philippe Honoré had formed an instant bond
with the CBSO; it was they who made the evening worthwhile.
Geoff Read