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Birmingham Philharmonic Orchestra at Birmingham Town Hall
Apr 22 2008 By Norman Stinchcombe
No one could ever accuse the Birmingham Philharmonic Orchestra of a lack of confidence. But for a non-professional orchestra to tackle Mahler's Resurrection Symphony, enormously demanding both in resources and stamina, might tempt one to suggest that confidence had become hubris.
Although I have heard more technically adroit performances I have seldom experienced one more intense or viscerally exciting than this one.
It got to the soul of the symphony and was not afraid to exploit the theatrical elements of a work that sometimes wears its heart on its sleeve.
At the climax, with the voices of the City of Birmingham Choir soaring aloft, Mahler's two banks of horns in full cry, and the Town Hall's organ thundering out, it became an experience to see as well as hear.
The opening movement was excellent with conductor Michael Lloyd bringing out its fevered and slightly hysterical elements: he pressed forward, declining to dawdle when the consolatory second theme emerged. This was a musical representation of a tormented mind, which is surely what Mahler wanted.
The orchestra will want to forget the andante where the strings' tuning went haywire and Mahler's sweet ländler sounded distinctly sour. After a re-tune the scherzo found everyone back on course, with plenty of drive and energy and some excellent woodwind playing.
The introduction of human voice into the symphony should be magical - here it was. Anne Marie Gibbons' rapt singing was under-pinned by a horn chorale played to perfection.
She blended well with the warm and rounded soprano of Amanda Winfield for their rapturous duets. The hushed entry of the choir and the effectively distanced off-stage wind and brass groups added to a convincing musical drama.
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