Prom 45: Mahler 3, BBC SO/BBC SC/Trinity BC, Carlstedt/Oramo, Sat. 19 Aug. 2023

[bluestateprommer]

Saturday 19 August 2023
19:00
Royal Albert Hall

Mahler: Symphony No. 3 in D minor

Jenny Carlstedt, mezzo-soprano (Proms debut artist)
Trinity Boys Choir
BBC Symphony Chorus

BBC Symphony Orchestra
Sakari Oramo, conductor

https://www.bbc.co.uk/events/e3vrn3

https://www.royalalberthall.com/tickets/proms/bbc-proms-2023/prom-45-mahlers-third-symphony/

[french frank]

Saturday, 19th August. Earlier start time of 19.00:

‘The symphony must be like the world. It must embrace everything.’ Nowhere is Mahler’s philosophy more magnificently fulfilled than in his Symphony No. 3. The vast work might start with menacing brass fanfares, but threat soon clears to reveal one of the composer’s most radiant and expansive works – a vision of man and nature, earth and heaven that wrestles with death and transcendence before coming to a concluding movement of solemn and transformative grace.

"Sakari Oramo conducts the BBC Symphony Orchestra and Chorus, joined by Trinity Boys Choir and Finnish-Swedish mezzo-soprano Jenny Carlstedt." [RAH website]

[Bryn]

I'll be listening out for the night bird's 'uplifting' call in the Sehr langsam—Misterioso. Always interesting to hear how it's interpreted/performed.

[JasonPalmer]

No interval.....on now...

[Ein Heldenleben]

My word that final movement was absolutely magnificent. What exceptional string and brass playing especially that wonderful, wonderful first trumpet. Must have been an amazing night in the Hall. I would loved to have been there.

[Petrushka]

I've been to a good number of Mahler 3 Prom performances since my first one in 1981 (Philharmonia/Haitink), including Abbado's Lucerne Festival Orchestra one in 2007 and Haitink in 2016, and Oramo and the BBCSO tonight was very impressive indeed. Very glad that Oramo didn't rush at the end as so many do but held it steady and he built up to the overwhelming last movement climax as skilfully as Haitink did.

I wasn't there tonight but rather wish I had been.

[bluestateprommer]

Very fine Mahler 3 indeed, the BBC SO's second Mahler performance within the past week and a half, no less. There were a very few tiny solo flubs (e.g. in the 3rd movement), but nothing of import. Agree with EH about the BBC SO's string sound. Oramo seemed to go for an initial slow burn approach at the start, but then ever so slightly shifted gears maybe 2/5 of the way in. Oramo did resume the 'slow burn' approach in the finale, in keeping with his remarks to Petroc before the performance about being attentive to the musicians' stamina, Jenny C. took perhaps a moment to get in the mood in the 4th movement, but she settled in very quickly. (Have seen her once live in Chicago, a concert performance of Debussy's Pelleas et Melisande with her as Melisande, and Salonen conducting.) Choirs sounded in solid form as well. Nice to hear Petroc mention that the RAH was packed out.

[Nick Armstrong]

I'll be listening out for the night bird's 'uplifting' call in the Sehr langsam—Misterioso. Always interesting to hear how it's interpreted/performed.

Agreed. There was a ‘naturalistic’ hint of glissando, which sounded right to me (rather than a rather mannered attempt at a ‘Rhapsody in Blue’-style gliss which I’ve heard in some performances). I was only able to hear the inner movements this evening - certainly one to return to for a full listen, given others’ comments here …

[Simon B]

... especially that wonderful, wonderful first trumpet.

Phil Cobb - once again. What the LSO lost there (also Niall Keatley more recently and again to the BBCSO - playing the cornet/"posthorn" this evening). They both played magnificently the "welcome home" trumpet chorale for Bernard Haitink with the LSO at the end of the last movement a few years ago. Oramo was just too fast and pulling the tempo around for me this evening for the last movement to have its full emotional impact. I can't accept the enfeeblement of the timpani in the closing bars, an affectation pioneered by Abbado as far as I can tell.

A sterling effort by the BBCSO all the same, albeit slightly untidy compared with their best recent work. The horns in particular sounded tremendous.

A curse on those noisily clomping in and out of the arena repeatedly this evening. Attention spans of a gnat.

[Maclintick]

I've been to a good number of Mahler 3 Prom performances since my first one in 1981 (Philharmonia/Haitink), including Abbado's Lucerne Festival Orchestra one in 2007 and Haitink in 2016, and Oramo and the BBCSO tonight was very impressive indeed. Very glad that Oramo didn't rush at the end as so many do but held it steady and he built up to the overwhelming last movement climax as skilfully as Haitink did.

I wasn't there tonight but rather wish I had been.

Like you, Petrushka, I've attended several Mahler 3 performances at the Proms over the years, including LSO/Haitink in 2016 Lucerne/Abbado 2007 & a rather fine RCO/Inbal in 2002, but last night's was up there with the best of them. Felt sorry for the latecomers who missed the magnificent riot of that first movement, but Oramo's unerring direction of his inspired forces over the next hour or so would have offered compensation. Haunting posthorn solo from Niall Keatley, as mentioned.

[Nick Armstrong]

Phil Cobb - once again.

Yes, always exceptionally involving and beautiful to hear, that delicate vibrato with a hint of brass band warmth …

[edashtav]

Phil Cobb - once again. What the LSO lost there (also Niall Keatley more recently and again to the BBCSO - playing the cornet/"posthorn" this evening). They both played magnificently the "welcome home" trumpet chorale for Bernard Haitink with the LSO at the end of the last movement a few years ago. Oramo was just too fast and pulling the tempo around for me this evening for the last movement to have its full emotional impact. I can't accept the enfeeblement of the timpani in the closing bars, an affectation pioneered by Abbado as far as I can tell.

A sterling effort by the BBCSO all the same, albeit slightly untidy compared with their best recent work. The horns in particular sounded tremendous.

A curse on those noisily clomping in and out of the arena repeatedly this evening. Attention spans of a gnat.

Fair comments, Simon. The piece offers so much variety of texture, mood and intensity, that few competent conductors fail to make a mark in one or more passages. I did feel that in a few places Sakari allowed the tempo either to become dangerously static or, on the other hand too fast for comfort. He has a great knack for establishing a ‘jaunty’ mood and rhythm and such moments enlivened the first movement for me. Very good, indeed, but a notch away from superlative.

[gradus]

I heard the recording today and thought the orchestra sounded outstandingly good, a great example of the sound engineer's art.