Paavo Järvi conducts Mahler's Fifth at the head of the Tonhalle-Orchester Zurich
10.02.24
Alejandro Martínez
Tormented and vehement
Had it not been for its inclusion in Luchino Visconti's famous Death in Venice, Gustav Mahler's music would surely not have enjoyed the relative popularity that it has managed to achieve in certain intellectual circles. But the truth is that Visconti's approach is full of melancholy and uneasiness, preserved even with a somewhat sweetened aftertaste. And I say this because Mahler's Fifth is not only the well-known Adagietto, and even this does not necessarily have to be such a placid and complacent page. This seemed to be precisely Paavo Järvi's message with a truly bitter and tormented reading of the score, virulent at times, as I will comment below.
Since the 2019/2020 season, the Tonhalle-Orchester Zürich has been led by Estonian Paavo Järvi as musical director. The group has since consolidated itself on the path towards its own sound, embracing ambitious symphonic projects, particularly around the works of Bruckner and Mahler. Not in vain, years ago, the Swiss orchestra forged its international reputation under the direction of New Yorker David Zinman, who was its chief conductor between 1995 and 2014, when he handed over the baton to Lionel Bringuier, the previous leader of the group before the arrival of Järvi.
Until Zinman's arrival, the orchestra had been concatenating short periods with headlines of the renown of Hans Rosbaud, Rudolf Kempe, Gerd Albrecht or Christoph Eschenbach, figures of great media attention although generally ephemeral in their contributions to the development of this particular orchestra. . But it was Zinman precisely who delved into the shape of the ensemble, seeking its limits and confronting on record, among others, the symphonic cycles of Gustav Mahler and Ludwig van Beethoven, acclaimed in their day by critics. Paavo Järvi's ownership seems determined to continue down that same path, with a project as solid as it is ambitious.
As I noted earlier, the Mahler we heard was quite visceral, decidedly expressive, a touch virulent, as if spoken from the gut, with all one's soul. This was particularly so in the second movement, which not for nothing is marked Stürmisch bewegt Mit grösster Vehemenz, which we might translate as 'tormented and vehement'. And so it was. Rarely do I remember hearing a Mahler so decidedly dark and tormented, with no concessions towards beauty, a little dry at times, at times with an angry phrasing, sometimes with contrasting dynamics, very expressive, in short. The Adagietto, very measured and concise, without softness, showed Järvi's meticulous work, capable of delving into great dynamism and intensity, while at the same time being incisive in tempi. The Estonian mesmerised with the Rondo-Finale, hardly pausing for breath, breathless, overwhelming at times. A highly personal and outstanding interpretation.
At the level of execution it is necessary to highlight the excellent performance of the ensemble's solo horn, Ivo Gass, truly extraordinary in the third movement. On a very high level, though just a notch below, was the principal trumpet Philippe Litzler, capable of an extraordinary sound although with a couple of minor stumbles in his playing. The strings of the ensemble are really strong, lending undoubted support to Järvi's bold approach, with whom they showed a close rapport.
In the first half, the concert had featured Mozart's Concerto for Oboe and Orchestra in C major, with the Spanish Cristina Gómez-Godoy as soloist. Principal oboe of the Berlin Staatskapelle, the virtuosity of the Granada performer was evident throughout the piece, exhibiting an extremely warm and flexible sound, capable of silky and agile phrasing at the same time. The tip they offered was beautiful, with the 'Dance of the Blessed Spirits' from Gluck's Orfeo.
The Tonhalle itself, which reopened in 2021 after five years of painstaking renovation, deserves a special mention. Built in 1895, it is one of the oldest halls in Europe, along with the famous Musikverein in Vienna and Concertgebouw in Amsterdam. It certainly has an excellent acoustic, warm and precise, probably favoured by the remarkable inclusion of wooden elements, including columns that look like marble but are actually made of wood. Having said that, the dimensions of the rather recessed space seemed to be somewhat challenged by the sonic grandiloquence of Mahler's score, with the stage occupying at least a generous third of the lower level of the hall. An extremely interesting space, in any case, also for recordings, as the project with the late Bruckner symphonies that Järvi and his orchestra are tackling just now makes clear.
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