Opera Ballet Vlaanderen has been under the musical direction of conductor Alejo Pérez for the past six years, and he is now moving on to a new position elsewhere (the exact location is still under wraps). With a concert in Ghent, repeated in Antwerp, he was given a standing ovation as a heartfelt farewell.
For this farewell concert, the conductor chose to perform Ludwig van Beethoven's Sixth Symphony and Gustav Mahler's 'Song of the Earth'. The full OBV orchestra and soloists tenor Christopher Sokolowski and mezzo-soprano Dshamilja Kaiser filled the Queen Elisabeth Hall with rich orchestral sounds and powerful voices.
Beethoven's Sixth
A celebration of nature in all its abundance—every time you hear this symphony, you discover details you thought you already knew inside and out. To my mind, Beethoven is the musical equivalent of Rubens, and just as you see something different in each painting depending on the angle and lighting, so it is with Beethoven's Sixth. I'm not one of those "purists" who insists on historically authentic performances at all costs. A modern orchestra, like that of the opera, simply wouldn't qualify, and certainly not a large symphonic ensemble. And yes, in such a spacious hall, a historically authentic performance wouldn't do itself justice. Compromise is possible and permissible—the work remains infinitely beautiful and enchanting in all its forms.
Conductor Pérez led the orchestra with nimble hands and flowing gestures through an expressive Sixth Symphony. The narrative lines were clearly drawn, and with eyes closed, one could easily imagine oneself in the forests and meadows where Beethoven could still freely enjoy himself near Vienna—places now built up and filled with traffic instead of birdsong, croaking frogs, and chirping crickets; no shelter from storms, the warmth of the sun's rays, and so much more.
Mahler's Song of the Earth
Whenever I mention that I much prefer Mahler's chamber music to his symphonies, I get raised eyebrows. I'll admit, I'm not the biggest fan of this song cycle either. Yet I was moved more deeply a few times, though I felt the soloists sometimes had to contend with the orchestra playing a bit too loudly during the grand passages. The tenor especially had a tough time with an orchestra that usually plays from the pit. He was nearly overpowered at times. But that was the only slightly weak point of the evening, because Sokolowski has a rich, powerful voice perfect for heavier roles—Wagner (he's currently singing Parsifal at OBV) and this Mahler, for instance. Pure, strong, impressive technique and deeply expressive interpretation. Kaiser has that same pure mezzo that she lays down gently and radiates warmth with. It makes the more intimate Mahler almost velvety to the ear.
The soloists, orchestra, and conductor had a solid interaction; you could feel that this Mahler resonates with them. That radiated out to the audience, who gave a double standing ovation. One for the performance itself and one for the departing conductor. Everyone—musicians and audience alike—could leave satisfied, savoring a special evening.
