United Kingdom Sibelius, Mahler: Lisa Batiashvili (violin), Philharmonia Orchestra / Lahav Shani (conductor). Royal Festival Hall, London, 8.12.2022. (JR)
Sibelius – Violin Concerto, Op.47
Mahler – Symphony No.6
A packed Royal Festival Hall was witness to a chic efficiency of the ever-popular Sibelius Violin Concerto. Lisa Batiashvili, on her Joseph Guarneri ‘del Jesu’ from 1739, mesmerised the viewers within the extraordinarily quiet opening and the following tender passages and wowed them together with her method within the quick sections. The closing Allegro came visiting as the perfect motion, conductor Lahav Shani injecting a component of swagger into the orchestral accompaniment. Batiashvili by no means put a finger mistaken within the lengthy double-stopping passages. The orchestra’s violas, cellos and principal double bass stood out within the pulsations on the opening of the finale. Shani conducts with out a baton, utilizing his left hand as a lot as his proper and he would possibly, because of this, to not be really easy to observe, a few times orchestra and soloist weren’t fairly collectively. It turned out to be Sibelius’s birthday, so Batiashvili rewarded the rapturous applause for her very good efficiency with the association by Jarkko Riihimäki for violin and orchestra of the standard Evening Song; it was most affecting and ended with a formidable show of harmonics.
Mahler’s Sixth Symphony is typically nicknamed ‘Tragic’ (although this phrase doesn’t seem on the rating and was not sanctioned by the composer) and this efficiency emphasised the brutal, even nihilistic nature of the work. Despite the truth that Mahler had simply married Alma and their first little one had been born, the work has surprisingly darkish undertones all through. Shani introduced out that darkness at each flip, and the Philharmonia supported him dutifully.
The big orchestra launched into their terrifying march on the outset of the work and we have been instantly taken by the bloom and precision of all the string part (second violins as robust because the firsts) and the characterful woodwind, significantly the clarinet of Mark van de Wiel and the creamy oboe: the ‘A’ group have been out in drive. The clarinet part regularly lifted their bells so as to add to the impression. Top trumpet notes have been safe and the 9 horns (the bulk girls) blended properly. Shani saved up the drive and confirmed a positive hand with the rating; Shani galvanised his forces to a frenzy – it was each terrifying and terrific. My solely quibble was that the offstage cowbells have been well-nigh inaudible.
Shani selected to play the Scherzo second. There appears to be no steering from the composer on this, he dithered with a choice. The growling tuba and the shrieking piccolos made their presence felt. The gradual motion then adopted, with silky strings, with the onstage cowbells nonetheless a lot too reticent for my liking. Principal horn Laurence Davies offered a chic ending to the motion.
The quick and livid closing motion confirmed Shani as a Mahler conductor of distinction. The highlights (three cymbal clashes) and two hammer blows (fortunately not three) have been properly executed, although the lifting of the large hammer induced seen consternation for a lot of within the entrance row of the choir seats, to the amusement of many within the viewers. Perhaps, with hindsight, a putting of the hammer additional to the entrance stage as in some performances would have been preferable; it actually aids the visible impression.
The Philharmonia Orchestra confirmed their top of the range with this closing main live performance as we head into the Christmas break.
John Rhodes