Osmo
Vänskä has attracted quite a following
during his time in Europe - there were many
nationalities in the Barbican audience and
a contingent from Finland is normally in attendance
for his Proms. These Vanskyrie know
what to expect from the conductor: highly
charged, dramatic interpretations, inner structures
revealed and a highly contrasted dynamic range
with very quiet pianissimos. I suspect many
had come to hear how the new partnership with
the Minnesota orchestra was shaping up. The
good news is that orchestra and conductor
appear to be enjoying each other’s company
and work together to produce wonderful music.
The players are very much in accord - full
of vigour and self-confidence. Vänskä
reportedly rehearses hard, but he doesn’t
let up in concert; he is animated on the podium
encouraging the players with every sweep of
the arms, punch, grimace and smile.
Vänskä
conducted a great deal of Beethoven with the
BBC Scottish Orchestra, including a cycle,
and a new cycle, on the BIS label, has been
announced with the Minnesota orchestra. His
reading of the Fourth is a grand affair and
the orchestra’s playing of what is the hardest
of Beethoven’s symphonies to bring to life,
was dynamic. I particularly liked Vänskä’s
continued emphasis on the string sections
- he punched home the string syncopations
moving across the podium to stand directly
over the players. The arrangement of the strings
helped this: (from the right) second violins,
violas, celli, first violins and bassi behind
the first violins & celli. And this was
not a slimmed down string section with 12
in each violin section. The effect of this
enhanced detail from the strings was to make
the work less about its rather awkward legato
lines and more about the drama interjected
between and under the melody. Thus, the symphony
sounded much closer to the Fifth Symphony,
with even more harmonic colour and drama,
and less a poor relation. The woodwind in
this orchestra are very smooth and unflustered
with a notably sweet sounding bassoon.
There
was another element too - there was excitement
amongst the players. One sensed that they
were in "the zone" taking their
skills to the edge, taking risks and exploring
heights. A work which is too often low on
drama and energy was delivered with a tremendous
appetite.
Vänskä’s
first season in Minnesota has offered varied
programmes and one might have hoped for more
than two works in the Barbican programme.
Bartok’s only opera is a high-risk venture
for both the box office and a travelling orchestra.
It stands or falls on the contribution of
the soloists: in this concert we had two of
the best. Komlosi and Kalmandi have recorded
these roles and sung them across the world
- indeed one wonders if they are tired of
them yet. They showed no sign of fatigue -
the concert hall setting drew strong singing
which was clear and bright. It is unsurprising
that two Hungarians were able to deliver every
word clearly and shade nuances perfectly to
add to the drama. Kalmandi’s Duke stood to
attention, motionless throughout, as though
weighed down by his own guilt from the start
in an ironic gesture towards Judith’s fate.
Komlosi was beautiful, wilful and a little
crafty: her voice is strong but not strident,
cutting through the orchestral tone.
This
unfolding catastrophe was gripping - the variety
of Bartok’s invention, as well as the narrative
line of the horror, were presented expertly
by these singers. Vänskä and the
orchestra were more than supporting actors.
The orchestral colours were revealed in a
seamless line - much better than the bumpy
episodic performances I can recall from the
past. The music showed a common ancestry with
Ravel’s Gaspard and Debussy’s tragic
lover’s in Pelleas et Melisande, but
with a Hungarian accent and vigour.
It is
a big score to deliver and Vänskä’s
players never showed signs of weakness, despite
their arduous schedule over the past two weeks.
The reciprocated applause from soloists to
orchestra to conductor showed yet again the
respect and confidence of all involved.
Stephen North
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