After their launch concert on Thursday night, at which the volcanic end of Mahler’s First Symphony triggered tumultuous applause, it was tempting to put down the pen, throw the hat in the air and have a good old rave up.
But there was much more to Runnicles’ Mahler than merely its explosive impact. What we heard was an utterly enthralling interpretation of Mahler One that was forensic in its detail. The authority, command and insight with which Runnicles unfolded his reading, and the concentration, intensity and sheer suppleness of the phrasing with which his new band delivered it suggested that there are gripping musical experiences around the corner for us.
Every aspect of Mahler’s world was subjected to detailed scrutiny: the atmospheres were flawless; structure, pacing and climaxes were gauged with brilliant psychology. The extraordinary range of dynamics and expression, from melancholy to schmaltz, from nostalgia to sheer grittiness was under the microscope in this performance.
Colouring and shading, both musical and emotional, were of an exquisite sensitivity. Instrumental characterisation was precise and vivid: I have never heard the third movement sound so Jewish in its instrumental timbre. The SSO played their socks off for the new boss.
And there was more. Runnicles brought with him American soprano Heidi Melton, whose awesome voice drew every ounce of expressiveness and emotion from Alban Berg’s seven beautiful early songs, revealing the soul of the music, while Beethoven’s First Symphony was tight, dry, articulate, and delivered with a punch. MacMillan, Mozart and Ravel this week from the new man; unmissable.
Star rating: *****
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