Atlanta Symphony Orchestra
Atlanta Symphony Chorus
Robert Spano, Conductor
Sopranos Evelina Dobračeva, Erin Wall and Nicole Cabell; mezzo-sopranos Michelle DeYoung and Kelley O’Connor; tenor Toby Spence; baritone Russell Braun; and bass Morris Robinson |
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Mahler’s 1906-Symphony No. 8 in E-flat major is a major
horal work in Western Art music. It is often called “Symphony of a Thousand,” a
title eschewed by the composer. It is in two parts: Part I is based on a 9th
century Latin text for the Christian celebration of Pentecost and Part II is a
setting of passages from the closing scene of Goethe’s Faust. While differing in derivation, the two parts
have a common theme of redemption by love, which is reflected in musical themes
appearing in both sections. While positively
received and still played today, some writers say that it is inferior to his
earlier works. The symphony does not
appear to draw upon the folk idioms used in the composer’s earlier works, nor
does it appear to dwell on scenes of death or loss. It does seem qualitatively different; the
orchestration is lush and full; it does not have an ironic march, or a child’s
melody played out of tune. It seems like
an amalgam of oratorio, cantata, motet and lied, layered on to a rich symphonic
based. It also is quite long, clocking in at 80 minutes.
The Atlanta Symphony Orchestra (ASO) last performed the
Symphony in 1991. The logistics of
gathering some 450 musicians and singers of a wide range of ages, rehearsing
them, and performing the massive work twice over a weekend is surely a daunting
task. Kudos to Maestro Spano Spano,
Norman Mackenzie, Director of Choruses, Lynn Urda, Director of the Young
Singers, David Morrow, Director of Morehouse, and Kevin Johson from Spelman for
undertaking this monumental performance. It was a triumph of large-scale music-making
and the work’s humanity and richness were undeniable. This was a standard-setting performance for
all involved.
The soloists gave powerful performances. Sopranos Doraceva and Wall have tremendous power. The latter has a rich sounding voice, while
the former has a slimmer sound, but no less potent. Soprano Cabell was
stationed in a balcony and her beautifully smooth voice hovered majestically in
the auditorium. Mezzos DeYoung and O’Connor are concert hall stalwarts and greatly
admired for their burnished voices.
DeYoung is quite powerful while O’Connor’s strength is in subtlety. Baritone Braun had great projection. Morris Robinson was one of the few bass
voices to have appeared with the ASO who held his own against the full power of
the orchestra and chorus. Tenor Spence’s
voice was overwhelmed early on, but by the time he soloed in Part II his voice
found a strong footing. All of the
choruses were well-prepared and their sound was well integrated.
The ASO musicians played inspiringly. Concertmaster Coucheron and new principal
viola Zhenwei Shi performed with aplomb. Juan Ramirez excelled at the mandolin, and the
digital organ added heft when needed. The
brass group stationed in the loge area added richness and excitement. Every
section of the orchestra seemed inspired and focused. This was the ASO at its best.
The only negative to the evening was Symphony Hall. It is so bright sounding that when everyone was
playing/singing forte, the sound
verged on ear-drum overload. This was
particularly notable in the first part, where Mahler did not shy away from writing
to create a big sound. It was much less
of an issue in the second part.
Yet, in all, the performances were stellar and the music is
sublime. Though the passages derived
from Goethe were a bit odd to modern sensibilities, the second part has some of
the most gorgeous orchestral passages imaginable. It is wonderful to be able to sit back, shut
down one’s critical ear, and simply luxuriate in Mahler’s wondrous music.
If you are lucky enough to have a ticket for Saturday night’s
performance, don’t even think of missing it!
Photos courtesy of Jeff Roffman:
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