BSO reaches for the heavens with a rare performance of Mahler’s Eighth
Andris Nelsons conducted the Boston Symphony Orchestra in Mahler’s Symphony No. 8 Friday night at Symphony Hall. Photo; Winslow Townson
Like Mark Twain, Theodore Roosevelt was no fan of Jane Austen. Though his reaction to the English novelist was less violent, the bibliophilic former president’s take was equally memorable: on completing any of her work, Roosevelt wrote, he comforted himself with the quintessential Victorian admonition that “duty performed is a rainbow to the soul.”
Andris Nelsons’ feelings about Miss Austen are unknown, but there’s no question that the Boston Symphony Orchestra’s music director likes Gustav Mahler. While not the conductor’s most-programmed composer—that would be Shostakovich—Nelsons has led the orchestra in all but two of the Austrian titan’s completed symphonies during his first ten seasons in town. With Friday’s performance of the sprawling Eighth at Symphony Hall, the magic number is down to one.
With a couple of exceptions, Nelsons’ Mahler interpretations have come off impressively. Yet, post-pandemic—and not just in Mahler—the conductor has proven an uneven purveyor of the Austro-German canon.
Admittedly, the Eighth is one of Mahler’s tougher nuts to crack. Completed in 1907 and premiered in 1910, this choral behemoth is like nothing else. Cast in two parts, the first sets the 9th-century Latin Pentecost hymn “Veni, Creator Spiritus.” The second adapts the final scene from Part 2 of Johann Wolfgang von Goethe’s Faust.
Together, they endeavor to depict nothing less than the cosmos: Mahler described the work as sounding like “planets and suns in orbit.” Heaven, hell, life, death, damnation, redemption, forgiveness, regeneration—it’s all here and then some.
Fittingly, the music features some of the canon’s highest highs, deepest depths, most sweeping vistas, and ear-splitting —not to mention foundation rumbling—climaxes. There are, as well, moments of cloying sentimentality, tedium, and repetition.
Beyond its expansive philosophical and theological outlook, the score also offers more than the usual spectacle. Dubbed the “Symphony of a Thousand” before its premiere, the Eighth calls for eight vocal soloists, two choruses, children’s choir, and a huge orchestra.
Accordingly, it’s been an infrequent guest at Symphony Hall. In fact, before Friday, the BSO had presented it there just twice: for the orchestra’s centennial in 1980 and to celebrate James Levine’s first concerts as music director in 2004. Neither of those previous occasions approached the numbers of the Eighth’s first performance in Munich where, indeed, Mahler had more than 1000 musicians at his disposal.
Nor did this one: the BSO, Tanglewood Festival Chorus, the Boys of St. Paul’s Choir School, and guests totaled around 300 souls. Together, they kicked up quite a din, though one came away appreciating the benefits of bigger choral numbers, as well as a larger venue. While Symphony Hall is ideal for much of the standard repertoire, it is a touch cozy for Mahler’s Symphony No. 8. Nevertheless, Friday’s cast persevered.
Though the James Burton-prepared TFC was massed behind the orchestra on the stage (thus negating some of the antiphonal aspect of Mahler’s writing in the Symphony), the collective’s sonic heft belied their nimble ensemble. Contrapuntal textures were ever lucid, diction often impressively clear. What’s more, their contributions—be they ecstatic, devotional, or folksy—were consistently vivid and stylish.
Meanwhile, the solo octet delivered their parts with strength and character, particularly sopranos Christine Goerke and Ying Fang —the latter making her short, angelic appearance as Mater Gloriosa in Part 2 from the second balcony. Latonia Moore’s overall contributions were silvery.
Photo: Winslow Townson
Also in the Eighth’s second part, Michael Nagy’s Pater ecstaticus and Ryan Speedo Green’s Pater profundus sang with warm intensity. So did mezzo sopranos Mihoko Fujimura and Gerhild Romberger, who proved complementary partners in their back-to-back solos.
Heldentenor Andreas Schager was the night’s vocal center of attention, his gleaming instrument ringing out pretty much whenever it was called upon. This meant that the big tenor solos in Part 2—“Höchste Herrscherin der Welt” and “Blicket auf”—were true powerhouse numbers.
At the same time, his voice seemed to have one dynamic setting and didn’t blend well with others, cutting through everything—soloists, chorus, orchestra, or any combination of the above—like a blowtorch through butter. Especially in ensembles, the results were occasionally disorienting.
One wouldn’t have minded if the St. Paul’s contingent had channeled Schager more: their efforts weren’t always audible. When they did emerge, the group, singing from the first balcony, brought appealing purity to their several injunctions.
Nelsons presided over the whole undertaking with a sure hand. His attention to balances was admirable. Tempos generally moved with purpose and, at its lowest end, the orchestra’s dynamic range regularly achieved a genuine quadruple-piano.
As a result, all manner of instrumental colors—especially the Eighth’s penchant for mandolin, harmonium, and celesta—emerged. The glittering transition into the final chorus, in fact, almost out-Nutcracker-ed Tchaikovsky for polish and delicacy.
And yet, Nelsons seemed intent to remind that quirks are his prerogative. Intensity sagged across the orchestral interlude in the middle of Part 1 and for stretches of Part 2’s Introduction; the elfin episode near the latter’s end was uncharacteristically heavy-footed.
What’s more, that section’s gorgeous Adagissimo suffered from an inexplicably indulgent tempo shift that turned what’s supposed to be a simple, beautiful song into a stuffy, stodgy chorale. A similar approach marred the middle of “Blicket auf.” The less said about Nelsons’ mannered drawing out of the concluding orchestral peroration, the better.
Twenty years ago, the crowning glories of Levine’s rendition of the Eighth were its naturalness, electricity, and the revelation of the score’s musical and textual coherence. Friday’s account didn’t quite achieve as much.
True, it was much more than a “duty performed” and did offer several rainbows to the soul. But it also sounded more like a work-in-progress than a persuasive portrayal of “planets and suns in orbit.” Happily, there are two more opportunities for Nelsons and company to accomplish the latter this weekend.
The program will be repeated 8 p.m. Saturday and 2 p.m. Sunday at Symphony Hall. bso.org
Posted in Performances
2 Responses to “BSO reaches for the heavens with a rare performance of Mahler’s Eighth”
Leave a Comment
Subscribe via RSS.
Posted Oct 06, 2024 at 10:18 am by Jonathan Kleefield, MD
Thank you for an excellent review of the concert you attended. We were fortunate enough to be there for the Saturday night performance. While not as intimately familiar with the piece as the reviewer obviously indicates in his observations, one particular musical aspect of the concert, not mentioned, deserves special recognition- the organ part.
Played expertly by Dexter Kennedy, Mr. Nelsons finally allowed the performer and his instrument to reach their full potential, with seat-shaking 32 foot ranks employed in abundance, as well as generous upper work soaring above the orchestra and chorus, just as it should be!
Due credit also goes to the brilliant team at Foley-Baker, Inc., who performed an extensive restoration of the Aeolian Skinner organ in 2003. As an amateur organist, and one who has been privileged to play this instrument, I was so happy to finally be able to hear this magnificent pipe organ clearly and powerfully- again, entirely appropriate for this piece!
Let’s hope next week’s performance of the Saint Saens Organ Symphony, with Olivier Latry as soloist, provides a similar opportunity for the organ-BRAVO!
Lastly, I basically concur with the reviewer’s assessment of the singers. For me, it was Latonia Moore’s breathtaking soprano that “stole the show”, with the short contribution by Ying Fang being equally beautiful.
The ecstatic response from the audience, after nearly 90 minutes of rapt attention (not one cough!) made a joyful conclusion for a very special musical occasion.
Posted Oct 07, 2024 at 11:52 am by John Kelly
I drove up from NY for the Saturday performance. Your review is absolutely on the money on all points. The hall is one of the wonders of the world and is a great place to hear music, especially music like this. I thought it one of the best things I’ve heard Nelsons do in a long while (I hear the orchestra at Carnegie whenever they’re there).
The singers were consistently all very good, Schager would be a great Siegfried with his Franco Corelli level volume of tone. The orchestral playing was sensational and much better than recent outings I’ve encountered – wonderful from Rolfs especially and the horns – terrific. Having said that, Latonia Moore skipped on a very high note near the very end so at one of these performances (being recorded for DG I believe as part of a Mahler cycle) she is going to have to hit it.
The absurd slowing at the very end totally ruined the cumulative effect of this final musical statement, the suns and planets suddenly began revolving in super slow motion, so maybe “the less said the better” but if the recording comes out like that the critics will say a lot about it and it won’t be good. Mahler works perfectly when you follow his detailed instructions exactly, which is why so many do it reasonably well. I found myself thinking this was something Svetlanov might have done on one of his less good days. Incomprehensible.