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WSO's Mahler stirs the soul

By: Holly Harris

Posted: 05/5/2012 1:00 AM | Comments: 0

The Winnipeg Symphony Orchestra closed its 2011/12 season with Gustav Mahler's blockbuster Symphony No. 2 in C minor (Resurrection), a work of epic proportion and searing emotion that stirs the soul and quickens the heart with its fierce intensity.

The 90-minute program led by WSO maestro Alexander Mickelthwate showcased guest artists: Monica Huisman, soprano; Anita Krause, mezzo-soprano; the Winnipeg Philharmonic Choir (Yuri Klaz, artistic director) and the Flin Flon Community Choir (Crystal Kolt, artistic director) with expanded orchestra. The WSO last performed the monumental work in 2001 conducted by former music director Bramwell Tovey.

Concert Review

Masterworks:

Mahler: Symphony No. 2 (Resurrection)

Friday, May 4
Centennial Concert Hall
Attendance: 1,488
Five stars out of five

Composed between 1888-1894, the Austrian-born composer wrote the piece as a profound expression of his belief in an afterlife. The death of his mentor, famed conductor Hans von Bülow inspired him to add the majestic chorale finale akin to Beethoven's iconic Symphony No. 9 in D minor, Op. 125 based on a poem, Auferstehen (Resurrection) sung by children at the elder's funeral in 1892. The titanic work became one of Mahler's most popular and successful works during his lifetime.

The five-movement symphonic work wrings out every ounce of emotion as it journeys through the despair of death to ultimate hope for eternal life. The cello and double basses immediately dug into the first movement Allegro Maestoso including its elegiac funeral march with decisive intent. Mickelthwate sculpted sound as the section progressed to its lyrical second theme interpolated like shards of memory performed by the upper strings.

Andante moderato based on Austrian ländler dance followed with folksy charm as the lilting theme was tossed between sections, including effective string pizzicato. The maestro established a brisk tempo during the Scherzo (In ruhig flieüender Bewegung) that nevertheless felt, at times, rushed.

The fourth movement, Urlicht (Primeval Light) provided the first taste of Krause's soulful voice. Her delivery of the German text was filled with benevolent yearning, underscored by horns and oboe counter-melody.

Then it became time for the fiery Finale: Im Tempo des Scherzos that explodes with furious indignation. It's always startling to hear offstage musicians play and this program was no different. Kudos to the brass and percussion players for their standout performance while adding new dimension to the performance.

Winnipeg-born Huisman's voice that grew, in turn, out of the choir's texture became another highlight. Her molten soprano soared over the combined 100-plus musicians and 120 singers with ease, eventually joined by Krause as they sung like angels extolling the power of faith.

The concert repeats Saturday night at the Centennial Concert Hall, 8 p.m.

holly.harris@shaw.ca

Republished from the Winnipeg Free Press print edition May 5, 2012 A15

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