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Simon Rattle’s tenure as the music director of the London Symphony Orchestra (LSO) has come to an end after six eventful years filled with crises, Brexit, and the pandemic. Rattle has now bid farewell to London and is embarking on a new chapter in Munich.
Rattle’s final performance as the LSO’s music director took place at the BBC Proms, where he selected Mahler’s Symphony No 9, a fitting piece for his departure, as it signifies Mahler’s farewell to life and a goodbye to an entire era with the coming of the first world war.
Rattle commenced the symphony slowly, almost hesitantly, as if reluctant to let go. His attention to detail in conducting Mahler’s work remains unmatched, but he has seamlessly integrated the smaller nuances into the bigger picture over the years. The opening theme, with its romantic and modern elements, hinted at a performance that straddles both eras. Rattle, once known for his more robust style, has now embraced warmer emotions.
This performance was an opportunity for the LSO to demonstrate its strengths as Antonio Pappano takes over as Rattle’s successor. The deep-toned and hymn-like radiance of Mahler’s finale showcased the increased depth and richness of the string sound. Additionally, the soft and delicate playing, which Rattle has always advocated for, reached new heights of breathtaking serenity. The control displayed by the solo performers during the tranquil final moments of the opening movement was exceptional, creating a captivating atmosphere that held the audience in suspense until the symphony’s dying phrases.
Prior to the Mahler piece, Rattle learned of the potential extinction of the BBC Singers and decided to include them in the concert. Under his direction, the BBC Singers delivered an impressive rendition of Poulenc’s unaccompanied Figure humaine. Rattle always ensures his performances carry a political message.
★★★★★
Another notable partnership was showcased during the previous two nights with Andris Nelsons leading the Boston Symphony Orchestra. Their close bond, evident in their extensive catalogue of recordings, has thrived over the past 10 years.
The orchestra’s European tour in 2023 commenced at the BBC Proms, setting high expectations for their quality of performance. They certainly did not disappoint, delivering a warm and harmonious overall sound, with exemplary solo work. In Richard Strauss’s tone poem Tod und Verklärung, the majestic closing brass section was flawlessly balanced and executed.
Nelsons’ performance style in Boston has become familiar, prioritizing clarity over the excitement derived from pace and tension. The second Prom’s rendition of Stravinsky’s Petrushka was notably slow-paced, which may have made the dancers appear sluggish on a ballet stage. However, the performance compensated with exceptional clarity, revealing delicate details not previously observed in the 28 previous Proms’ performances of the 1947 version of Petrushka.
Both concerts began with new works. Carlos Simon’s Four Black American Dances stood out with its panache and colorful execution, earning enthusiastic applause from the Proms audience. Julia Adolphe’s Makeshift Castle, conforming to current trends, focused on atmospheric orchestral textures but lacked memorable melodies and rhythm compared to similar compositions.
The only featured soloist was Jean-Yves Thibaudet, whose elegant performance of Gershwin’s Piano Concerto spurred Nelsons to maintain a lively pace. Prokofiev’s Symphony No.5 in the first Prom received a grandiose rendition, although it lacked bite and drive. The second Prom concluded with Ravel’s La valse, a celebration of virtuosity.
★★★★☆
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