Mahler 2 at the Philharmonie: Resurrection from Switzerland

 05/12/2025 Frédérique Epin

Olyrix

With the Tonhalle Orchestra Zurich, of which he has been music director since 2019, Paavo Järvi is embarking on a complete cycle of Mahler's symphonies, culminating in a European tour that includes a stop at the Philharmonie de Paris (beginning in 2024 with Symphony No. 5 and concluding in 2029 with Symphony No. 3).

Mahler's Second Symphony unfolds as an existential epic, beginning in the darkness of a funeral march and culminating in the light of resurrection. For this project, the composer has created one of his most expansive scores, a work that blends the symphonic poem, the Lied, and the cantata, incorporating vocals (choir and two soloists). The instrumental forces are colossal, utilizing the entire stage space of the Philharmonie as well as the rear seating for the choir.

The instrumentalists showcase their expertise in the numerous solos, and all actively engage with the score's moments of brilliance; their cohesion is palpable.

The Zurich Sing-Akademie choir, supported by a solid bass section, announces the resurrection in a striking whisper, the timbres then converging to assume the victorious song in the final orchestral fortissimo.

Conductor Paavo Järvi has a considerable task in balancing the forces at play. In the first movement, he manages to render the contrasts between tormented outbursts and gentle lyricism, constantly playing with dynamics. The suspensions in the Ländler evoke memories, and the Scherzo, taken at a brisk pace, takes on a more charming than demonic character. The final movement, however, with its succession of abrupt shifts, is performed at a constant forte, diminishing the progression and the build-up to the Great Call. So much so that even the bells announcing the resurrection struggle to make their presence felt.

The two solo singers each adopt a unique posture while awaiting their turn. Soprano Mari Eriksmoen displays a certain serenity, legs crossed, gazing straight ahead. Mezzo-soprano Anna Lucia Richter, on the other hand, reads the score attentively and seems moved by the orchestral arrangement. In Urlicht (Primordial Light), she immerses herself in the brass chorale to evoke human misery and blends into the oboe's sound, containing the vibration of her voice. While her timbre is undeniably delicate, the momentary absence of vibrato nonetheless weakens the accuracy and brilliance of her vocal line, the middle register sounding somewhat veiled. However, she sings of the resurrection alongside Mari Eriksmoen with committed physicality and a warm timbre. Her voice emerges imperceptibly from the choir, then soars to the heights in a clear and radiant lyricism.

After nearly an hour and a half of music, the audience warmly applauds the artists. Mahler, too, is praised for his music of such intensity that it irresistibly moves the large audience who have come to enjoy this Resurrection.

Paavo Järvi, l'Orchestre de la Tonhalle de Zurich et la Zürcher Sing-Akademie (© Ondine Bertrand / Cheeese) 

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