Never look at the brass encouragingly, goes the conducting advice one-liner attributed to Richard Strauss, but Gianandrea Noseda must have had the eye permanently on the brass while rehearsing with the TSO for the last night’s performance of Casella/Strauss/Wagner/Beethoven. The loudness of the brass and winds required the rest of the orchestra to be at their most brash too. For some of the program, this worked fine—Casella and Beethoven—but the vocal pieces suffered from this imbalance, even while showcasing such a powerhouse soprano as Adrianne Pieczonka.
Noseda is an advocate for the revaluation of the Italian composer Alfredo Casella (1883-1947) and this is the reason we got to hear Casella’s “Italia” in the program. The rhapsody plays with two folk melodies in its two movements, and I found the first part more intriguing musically—perhaps because I couldn’t recognize any of its Sicilian folk roots, perhaps because it’s a movement of an appealingly dark mood. The second, Neapolitan part varies the “Funiculì, Funiculà” through various instrumental section and dynamics and has more of a big band in a summer festival quality.
Strauss’s Four Last Songs followed. The orchestra was flat-out too loud in “Frühling” and “September”, and even though the imbalance was slightly redressed for the last two songs, the asymmetry was there to stay. If you came to enjoy Pieczonka’s savoury ways with the German text, you left for the interval unsatisfied, ears ringing with brass. There was no withholding, no teasing, no sensuality in the orchestral tapestry in the Four Last Songs; it gave its all immediately and continued in that vein.
Surprisingly, this also happened in “Mild und Leise” and the Liebestod. The instrumental Prelude itself was subtle and there was plenty of douceur; as soon as the singing started, however, the imbalance was back. In her soaring resplendent highs, Pieczonka easily took over, but for the lower notes the orchestra was hogging the sound again. Still, it was a special occasion: one of the best young-dramatic sopranos in the world today trying out a major role ahead of her. We were the first to have a taste, we can say years from now. (There’s been talk about a future Bayreuth Isolde… In my profile of Pieczonka [PDF] for Opera Canada, for example.)
Finally, Beethoven and his mad Seventh. I’ve been listening a lot of Beethoven on period instruments lately and was worried I’d be biased against the all-out luxury Beethoven of a modern orchestra under Noseda, but turns out I had no reason to be. The Seventh really could be done as a spectacle, and as a series of explosions, and it’ll work just spiffingly. Not everything was in order last night—the extremely fast Presto movement, for example, had a number of late entries, and even though split-second, they were noticeable. But overall it was a tremendously fun performance, with all the connotations positive and negative of the term. Actually, scratch that. There can’t be any negative connotations of having child-like, bouncing off a trampoline type fun at a symphonic concert.
A note for the TSO program editors: please credit the translators.
Photos by Malcolm Cook / TSO