The concert began with a personal favourite of mine, namely the hauntingly beautiful, Prelude from Wagner’s Tristan and Isolde, the romanic tale of would be lovers, leaving Ireland by boat, the crashing of waves symbolising passion, as the waves rise and fall, ebb and flow, and the London Philharmonic did the piece justice. So much so, that I could happily have left at this point and counted the evening a success.
Thank goodness I didn’t, because Renee Fleming singing Four Last Songs, by Richard Strauss was an occasion not to miss.
Strauss sketched a setting for a poem, ‘At Sunset’ depicting an old couple, staring into the sunset, looking back over their long lives, and wondering ‘Can this perhaps be death’. He promptly wrote ‘At Sunset’ following up with three other songs, ‘Spring’, ‘September’ and ‘Going to Sleep.’ The songs were published posthumously as the ‘Four Last Songs.’
Renee Fleming, one of the most highly acclaimed singers of our time, graced the stage in a fitted pink and turquoise dress, subtly sparkling in the house lights. The dress may have sparkled, but could not compete with the thrilling voice of Miss Fleming, which captivated the audience from the outset. Each song seemed more beautiful than the last, and once or twice I could feel myself welling up. Put simply, this was a sublime performance, and we listened in awe to Fleming’s voice which cut like crystal – showing exactly why she is so revered.
We listened in worshipful silence to all four songs, but at the end of the last song, ‘At Sunset’ which is particularly poignant, such pent-up admiration for what we had just heard could not constrain the applause and cheers, which threatened to lift the roof. The applause would not die down quickly and it took three returns to the stage before we were treated to a final song, ‘Morgen’ – a perfect piece on which to leave the stage.
The conductor, Thomas Guggeis, was making his debut with the London Philharmonic Orchestra, and his youthful looks belied his skill, or perhaps that says more about me and my age. Oh for a scintilla of his talent. Guggeis conducts with dramatic energy, wielding his baton like a magic wand, urging the orchestra to ever new heights.
Wagner is something of a Marmite Composer, and people either love him or hate him. Fortunately, I fall into the former group, and so awaited the second part of the concert with great anticipation.
The Overture and Venusberg Music from Tannhauser is one of the most popular Wagnerian extracts in the concert hall and gloriously familiar. Venusberg incidentally is the underground realm of the Goddess Venus. The music transported us to a magical realm, about which the music pulsed and swirled in a frenzied orgiastic maelstrom.
The Prelude to Act 1 of Lohengrin is based on the Holy Grail, carried by a host of angels as it gradually materialises out of nowhere, and was summoned up in our imaginations by the violins and later the brass. The London Philharmonic Orchestra on top form, thrilling.
Finally the Overture to Die Meistersinger von Nurnberg, sumptuous. Magnificent brass and tympani dominated briefly but to great affect before giving way once again to the strings creating a sense of urgency. Utterly brilliant.
Image courtesy of London Philharmonic Orchestra.
Upcoming Concerts
Crossing Generations Wednesday 12 March 2025, 7.30pm – Queen Elizabeth Hall. Kevin John Edusei presents Zappa, Martinů and a new clarinet concerto with phenomenal Syrian clarinettist Kinan Azmeh.
Repertoire
Zappa – The Dog Breath Variations/Uncle Meat; Outrage at Valdez; G-Spot Tornado. Dinuk Wijeratne – Clarinet Concerto (European premiere). Martinů – Symphony No. 6 (Fantaisies symphoniques).
Mahler’s Fifth Wednesday 19 March 2025, 7.30pm – Royal Festival Hall. Robin Ticciati presents Mahler’s blockbuster journey from darkness to light.
Repertoire
R Schumann – Piano Concerto. Mahler – Symphony No. 5
Alina Ibragimova plays Prokofiev Wednesday 26 March 2025, 6.30pm – Royal Festival Hall. In a time of revolution, Prokofiev’s First Violin Concerto wove fairytale magic – and no-one makes it dance like Alina Ibragimova.
Repertoire
Saariaho – Orion. Prokofiev – Violin Concerto No. 1. Nielsen – Symphony No. 5
Tan Dun’s Water Concerto Saturday 29 March 2025, 7.30pm – Queen Elizabeth Hall. Eva Ollikainen rediscovers two modern classics, and Colin Currie – in the words of one critic, ‘surely the world’s finest and most daring percussionist’ – explores new ways of listening, with the extraordinary, culture-crossing Water Concerto by Crouching Tiger, Hidden Dragon composer Tan Dun.
Repertoire
Pärt – Symphony No. 1 (Polyphonic). Tan Dun – Water Concerto. Lutosławski – Symphony No. 3. Re. Easter, these are our April events up until the end of the season:
Jurowski conducts Lyatoshynsky Wednesday 2 April 2025, 7.30pm – Royal Festival Hall. ‘Peace Shall Defeat War’ wrote Boris Lyatoshynsky on the score of his Third Symphony, and the message of this great 20th-century Ukrainian composer has never felt more urgent or compelling. Vladimir Jurowski presents a programme of uncompromising emotional power.
The music: Prokofiev – Selection from Semyon Kotko. Mussorgsky (arr. Denisov) – Songs and Dances of Death. Lyatoshynsky – Symphony No. 3
Tragedy to Triumph Saturday 5 April 2025, 7.30pm – Royal Festival Hall
Schubert’s unstoppable Ninth Symphony is known as ‘the Great’ – and with Vladimir Jurowski bringing all his insight and imagination, you’ll hear why.
The music. Beethoven – Coriolan Overture. R Schumann – Violin Concerto. Schubert – Symphony No. 9 (The Great)
Jan Lisiecki plays Beethoven Saturday12 April 2025, 7.30pm – Royal Festival Hall. There are few experiences in classical music more invigorating, or more stirring than Sibelius’s Second Symphony. For the young Finnish conductor Tarmo Peltokoski, Sibelius is a national hero. There’s another tale about memory to be told here, as Canadian pianist Jan Lisiecki takes centre stage to showcase the grandeur and glory of Beethoven’s mighty ‘Emperor’ Concerto.
The music. Sibelius – Pohjola’s Daughter. Beethoven – Piano Concerto No. 5 (Emperor).Sibelius – Symphony No. 2.
Daphnis and Chloé Wednesday 23 April 2025, 6.30pm – Royal Festival Hall. Wednesday 23 Apr 2025, 8.30pm – Royal Festival Hall. Ravel’s orchestral masterpiece is a ballet that resists staging, rarely being performed as a ballet. Enter Circa’s powerful acrobatics and aerials.
The music. Ravel – Daphnis et Chloé. Ravel – La valse
Mahler 8 Saturday 26 April 2025, 7.30pm – Royal Festival Hall is sold out.