This strikingly planned programme certainly got the
BBC Symphony Orchestra’s new season under way in style, and their advance
details for the rest of 2002-3 look extremely enticing, especially for
enthusiasts of contemporary music and vocal music; during the coming
months we shall hear the UK premieres of John Adams’ ‘El Niño’
and Kaija Saariaho’s ‘L’amour de loin’ as well as new works from Peter
Eötvös, Simon Bainbridge, Dominic Muldowney and György
Kurtág, and the Composer Portraits will feature Oliver Knussen
and Alberto Ginastera – plus what promises to be a fascinating Composer
Weekend which will focus on the work of Mark-Anthony Turnage. For those
of more traditional tastes, one of the highlights promises to be what
sounds like a brilliant piece of scheduling, namely ‘Tristan und Isolde’
performed over three evenings, starrily cast and conducted (by Donald
Runnicles) and with each evening’s act preceded by the music of composers
who were deeply influenced by Wagner’s great work. I can hardly wait,
but for now, back to last night.
The orchestra’s Conductor Laureate was in his habitually
ebullient form for this concert: he clearly has a special affection
for Prokofiev’s Symphony no. 1, and it must be said that he and the
orchestra did actually manage to succeed in performing it as though
most of it had not already been done to death; this was especially true
of the third movement Gavotte, which for once sounded as ‘classical’
as the composer wanted it to, instead of presenting the sugary glaze
one has come to expect. Indeed, apart from a little awkwardness in the
woodwind tone at the start of the Finale, the playing throughout was
sprightly and sweet – toned, just catching that Haydnesque lilt without
labouring it too much.
Britten’s ‘Les Illuminations’ followed, with the ubiquitous
Ian Bostridge as soloist. His singing of it is not yet perfection; his
French is not always well enunciated, his articulation, especially in
‘Villes’ and ‘Royauté’ is not absolutely distinct, and, to my
ears, his singing of such sections as ‘Being Beauteous’ and the exquisite
‘Phrase’ is lacking in the requisite sensuality, but he compensated
with much ecstatic ardour and just plain beautiful singing: I still
cannot understand why it is that so many people say that his is not
a genuinely beautiful voice. One might listen in vain for the ideal
frisson of sensuality at ‘Oh! nos os sont revêtus d’un nouveau
corps amoureux’ or ‘et je danse,’ but the lovely tone, the care for
the meaning of the words and the accuracy without dryness (with a wonderful
B flat in the latter line) certainly compensated. He was strongest,
perhaps, at moments of sardonic power, and ‘O le plus violent Paradis
de la grimace enragée!’ was stunning. Davis and the orchestra
gave him wonderfully sensitive support, the conductor achieving the
very rare distinction of moulding the orchestral line so as to follow
the composer’s instructions yet without once drowning out this relatively
slender-voiced singer.
The second half began with a sparkling performance
of Stravinsky’s ‘Symphonies of Wind Instruments,’ and the evening’s
final work was Britten again, with the ‘Young Person’s Guide,’ famously
described by the composer as a piece about which he had ‘never really
worried that it was too sophisticated for kids – it is difficult to
be that for the little blighters.’ There were plenty of ‘little blighters’
in the audience, and they clearly enjoyed a lively performance, directed
and played with real love for the music. The ‘Lento’ and ‘Allegro Pomposo’
variations showcased the orchestra’s individual players at their best,
with especially fine bassoons and trumpets, and Purcell’s great theme
can seldom have sounded so triumphant.
Melanie Eskenazi
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