Prom 55: 27.08.16 - CBSO/Mirga Gražinytė-Tyla

[Il Grande Inquisitor]

Well he's a news reporter, not a qualified musician.

Rather ungracious of you.

... but what was it?

Petroc announced the encore as the final variation and coda from The Sleeping Beauty, probably because that's what the Proms press office told him (it's precisely what they tweeted moments after the concert). It was - as I identified in my review - the Diamond Fairy variation plus the coda from the Pas de quatre. Hardly a hanging offence for Petroc to get it ever so slightly wrong.

https://bachtrack.com/review-prom-55-mirga-grazinyte-tyla-barbara-hannigan-cbso-august-2016

[verismissimo]

Rather ungracious of you.

Petroc announced the encore as the final variation and coda from The Sleeping Beauty, probably because that's what the Proms press office told him (it's precisely what they tweeted moments after the concert). It was - as I identified in my review - the Diamond Fairy variation plus the coda from the Pas de quatre. Hardly a hanging offence for Petroc to get it ever so slightly wrong.

https://bachtrack.com/review-prom-55...so-august-2016

Ungracious? Patronising too. And Alpie didn't seem to have any answer to the question - what was it?

Congratulations on sorting the latter out, Mark. And for decoding Mirga's parting instruction: 'See you in Birmingham.' Indeed. Remarkable London debut.

[kernelbogey]

Our chief weapon is surprise...surprise and fear...fear and surprise.... Our two weapons are fear and surprise...and ruthless efficiency....

[...] Hardly a hanging offence for Petroc to get it ever so slightly wrong...

Perhaps a surprise visit to the Breakfast studio, IGI?

[bluestateprommer]

And for decoding Mirga's parting instruction: 'See you in Birmingham.' Indeed. Remarkable London debut.

One other "body language" point that I neglected to mention was that MG-T's feet did bob up and down on the podium fairly often, and on a few select occasions, her feet did briefly leave the podium. But AFAICT, it was not for show, but the enthusiasm of the moment, and to be honest, it might have been necessary given that she is rather petite. There's no doubt that she won a lot of new friends in the audience, and since the CBSO has pretty consistently appeared annually at The Proms, it seems a sure bet (famous last words) that she'll be back with the CBSO next year.

On the more people-watching side, some other musical luminaries in the audience included Julian Lloyd Webber, Stephen Hough, and George Benjamin.

[Richard Tarleton]

I'm delighted to see this concert is going to be on TV (BBC4) on Sunday next, 4 September, at 7.00.

[Zucchini]

Links to some enthusiastic newspaper/magazine reviews amongst the CBSO twitter pages:

https://twitter.com/thecbso?lang=en-gb

(... and Sara M-P and Julian L W)

[Maclintick]

I'm delighted to see this concert is going to be on TV (BBC4) on Sunday next, 4 September, at 7.00.

Thanks for insightful reviews Simon B, BSP, Gedsmk, & Ed. I was at the RAH for this one & was mesmerised by the tiny, pirouetting figure on the podium, who resembled some mythical sprite from the Far North, but who controlled proceedings with flair & complete empathy with her fellow-musicians. In Tchaik 4 there are passages when the players can just get on with it without intervention, & in these moments she hung back, almost a la Noddy with the Leningraders of old, but then swept into action when it was necessary. MG-T's rock-solid rhythm & her physically instinctive communication were impressive.

From 'G' Stalls I was unable to appreciate properly Barbara Hannigan's contribution, but I'm sure I-Player will confirm that it was up to her usual stratospheric standard....

[Sir Velo]

To throw some cold water on the general adulation of this performance: surely this was a Tchaikovsky 4 seen through a proto-Mahlerian lens. Tempi, particularly in the first movement, were pulled about like an old stringed vest, investing the bucolic second subject with the queasy impression of one of Gustav's pawky landler thereby robbing the music of its (admittedly slight) symphonic thrust.

Back to Mravinsky for me, I'm afraid...

[makropulos]

To throw some cold water on the general adulation of this performance: surely this was a Tchaikovsky 4 seen through a proto-Mahlerian lens. Tempi, particularly in the first movement, were pulled about like an old stringed vest, investing the bucolic second subject with the queasy impression of one of Gustav's pawky landler thereby robbing the music of its (admittedly slight) symphonic thrust.

Back to Mravinsky for me, I'm afraid...

Flexibiity of tempo (unmarked in the score) was something Brahms (among others) considered essential to the effective performance of his music. Is there any evidence to suggest that Tchaikovsky thought any differently? What Mahler and Strauss did was to start trying to write that sort of flexibility into the score, but they certainly didn't invent it.

[ardcarp]

It was pity no-one mentioned to MG-T that the woodwind solos over strings couldn't be heard at some points

This was not evident on the TV broadcast which I've just seen. I thought she got the strings playing wonderfully quietly at times. Funny old place the RAH.

[ferneyhoughgeliebte]

This was not evident on the TV broadcast which I've just seen. I thought she got the strings playing wonderfully quietly at times.

- impressive instrumental detail and clarity throughout.

[makropulos]

- impressive instrumental detail and clarity throughout.

Agree. I thoroughly enjoyed watching this concert. And Barbara Hanigan was characteristically wonderful too.

[Hornspieler]

Mozart: The Magic Flute – overture
City Of Birmingham Symphony Orchestra
Mirga Gražinyte-Tyla, conductor

Last evening saw a programme from Mozart’s last year, magnificently played by the Budapest Festival Orchestra under Ivan Fischer. And here is the CBSO under its new director offering competition. How did they measure up? Their band sounded fuller and larger but this overture with its contrast between scurrying strings and aldermanic brass adapts well to a big band context. Opera overtures vary from mere pot-pourri “spoilers” to thoughtfully constructed preludes designed to enhance what is to come. The Magic Flute overture is real music that can stand on its own feet in the concert hall. I felt the introduction might have gained from a little more space between its chords given the size of the RAH auditorium. The first group of themes were played with pace, accuracy and alacrity. The brass response was spooked by an almighty yawn from a member of the audience. The string figures had shape and direction. I worried that the whole was “in yer face” – full of poster paint in loud colours. It was Saturday Night Fever, lacking any sense of awe and majesty.

Hans Abrahamsen: Let me tell you
Barbara Hannigan, soprano
Ophelia’s Tale expanded by Paul Griffiths. I was surprised that this was Hans’s first work for voice. Memory, Love and Time to Come are the three parts of Ophelia’s story.
Again , the start was ruined by “noises off”- what was going on? Hans’s music has developed from its roots in the “new simplicity” , to link it to tonight’s overture, perhaps he’s added elements of magic realism. His later scores combine artless elements with a concern for beauty of line and texture. I find they are beguiling and can be addictive.
Barbara Hannigan sang with conviction and confidence, creating a wide spectrum of vocal sounds that spoke highly of her admirable technique and intrepid nature.

The support of the CBSO under Mirga Gražinyte-Tyla was polished and sensitive. The score sounded fun to play and sing. Considering that the performance was a London premiere, it was remarkably assured, refulgent and successful. Most enjoyable, indeed – I long to hear further performances.

Pyotr Ilyich Tchaikovsky: Symphony No 4 in F minor

An excellent start from the relaxed, confident brass section. The layers of Tchaikovsky’s orchestration were well blended with a fine attention to important details. Rhythms were tight, to the point of being clipped. The more lyrical moments in wind and strings were allowed to breathe in a most natural manner. I did wonder whether early climaxes became over-heated as this can leave too little in reserve and spoil the movement’s shape.What saved the performance for me was the quantity and quality of finely observed detail that is missing from so many barnstorming “ Sunday Night is Tchaik's Night” sessions. Once more, a quiet moment was wrecked by another voice in the crowd. The coda was rushed leading to a spluttering of applause.

The slow movement needed more time to breathe and it started in a matter of fact manner, robbed of its tenderness. The climaxes were overdrawn and I felt the opportunity afforded for establishing a strong contrast with the tension of the first movement was missed. Once more, stronger criticism was avoided by incidental insights and delights. However, I did conclude that the movement as a whole failed to hang together.

The string section projected their pizzicati cleanly with excellent work from double basses, and sounded better than the ensuing music for wind and brass that took time to settle down.

What a blast as the finale started abruptly! A bit coarse, more Soviet than Russian in style. I began to be irritated by a Mirga mannerism: I find that she fore shortens the endings of phrases. She sounds like a young woman in a hurry.

Much to admire but so much that needs to bed down, to become natural. She’s constantly spraying her players with Miracle-Gro when they would benefit from a hosing down with cold water.

A fair assessment, Ed.

Yes, I too felt that the second movement of the symphony fell apart after the well-read Opening movement with its "fate" theme handled well.
Too many unneccesary gestures for my liking in the remaining movements - at times the lady appeared to be completely overwhelmed and gave the impression that the music had taken command of her bodily reactions - she wasn't directing it, she was reacting to it (my dear old mother would have said "... she looked like she was having an organism")

A complete contrast to Gergiev's manner of conducting'
I think she could be a good trainer for the CBSO, but in her performances she needs to tone it down a bit.

[ardcarp]

A complete contrast to Gergiev's manner of conducting'

Well, thank goodness for that.

I think she could be a good trainer for the CBSO, but in her performances she needs to tone it down a bit.

That sounds a wee bit patronising. I bow of course to your enormous experience, Hornspieler. However those who have researched 19th and early 20th century performance practice will know that the infusion of feelings, emotions and expression by means of pulling tempi around, playing with (unwritten) dynamics and even tinkering with the orchestration was common. The coolness of the mid- to late- 20th century, not to mention the reverence for the letter of the score, would have been anathema to a generation of conductors born in Tchaik's lifetime. (This applied to pianists too.)

my dear old mother would have said "... she looked like she was having an organism"

Ha ha! But we have to beware of unintended sexism here. Surely Rattle is having a permanent organism?

[marvin]

Ms MG-Tyla remindes me of one of those contestants on a TV programme a few years ago where Celebs tried the 'art' of conducting and were judged by their ability or lack of it - I seem to remember Ms K Dereham there, once, having a go. They all seemed to have exaggerated, alarming arm movements and pointing at orchestra members as if they needed reminding it was their turn to play. All rather off-putting and I deleted my Humax recording. There also seems a gross difference in the pronunciation of Ms Tyla's name, between Sarah Mohr-Pietch and Katie Dereham. Sort of Grashzinter and Grashzineeter. Most confusing.