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Milwaukee Symphony Chorus
Milwaukee Symphony Chorus
The Milwaukee Symphony’s Classics series ended in epic fashion this weekend with a performance of Mahler’s 90-minute Symphony No. 2. This is one of the Big Deal Concerts in the classical music world. It’s life-affirming music, following a trajectory from darkness to exaltation in its choral finale. Though originally planned for the end of the 2020-21 season, the pandemic forced a change of programming. The years-long wait for Mahler 2 in the new symphony hall further heightened the sense of occasion.
From my seat close to the stage, I could sense the excitement from the musicians too. Lots of smiles as Maestro Ken-David Masur strode out to begin. His conducting in the opening minutes was some of the most intense I’d ever seen from him, producing an explosive reaction from the cellos. Overall, the first movement’s 30 minutes came off very well. Good tempos, heartfelt playing, muscular climaxes.
The second movement had all the Viennese charm one could hope for. Cellos shone again here, relishing some of (I think) the greatest lines in symphonic literature. I really heard the struggle between life and death in this performance, with the darker contrasting material bearing down on the quaint country tune.
After the customary pause for the vocal soloists to take their places onstage, the orchestra seemed to lose its groove in the ensuing movement. The ensemble was disjointed from the outset in this quick triple-meter music and continued to pull apart. It was distracting and a tad disappointing.
The Urlicht is a crucial moment in any performance of this symphony, when the text arrives to bring new meaning to the ongoing program. Mezzo-soprano Anna Larsson sang beautifully, but what I remember more is the power of her face. As a vessel for text that speaks of longing for heaven, she did an admirable job conveying the inexpressible. After her last words, she continued to stare upward in reverie.
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The finale flew by in a blur of event. Maestro Masur guided the orchestra through many mood shifts and tempo changes with a steady hand. As in the first movement, he conducted with authority, showing thoughtful intent behind his choices. Principal flutist Sonora Slocum gave vivid readings of some key solos. The home stretch was a real treat. Soprano Jessica Rivera offered a sophisticated tone and duetted well with Larsson. As the orchestra and chorus swelled with greater and greater emotion into the climax, it became one of those live moments to remember. Very satisfying indeed.
Mahler 2 always has the potential for catharsis, and the Milwaukee Symphony delivered the goods. Aside from some technical issues in the third movement, this felt like a landmark performance in the recent history of the group. It really doesn’t get much better than hearing an orchestra and chorus playing/singing their hearts out, with supertitles showing unabashedly Romantic expressions of cosmic hope.
