★★★★★ Robertson performs a gloriously exhilarating Resurrection.

Mahler’s Resurrection Symphony has exerted a talismanic influence on the Sydney Symphony since Otto Klemperer’s legendary performance in September 1950 – still remembered vividly by older concertgoers. I’ve sat through various accounts since 1975 but none have moved or exhilarated me as much as that by David Robertson in the Sydney Town Hall. All sections of the SSO covered themselves in glory.

Whoever decided the Sydney Town Hall as the venue is to be congratulated as it has remained a sentimental favourite. The immediacy and crispness of the sound shows the Opera House Concert Hall in a decidedly poor light. Robertson laid out the orchestra with divided violins (always an encouraging sign) then, moving clockwise, cellos, violas and second violins directly on his right. The other striking feature were the steady, unhysterical tempi he adopted throughout and how effective they were. He didn’t rush his fences or speed up when the music became louder. Klemperer’s famous EMI/Philharmonia recording clocked in at a few seconds short of 80 minutes: Robertson, even allowing for an extended pause between the first and second movements (requested by Mahler) took about 85 minutes.

To call the performance and approach “mainstream” would belittle it. It steered a middle course between the implacable gruffness of Klemperer at one extreme and the neurasthenic exhibitionism of Bernstein at the other.  There was the grim trudge of the opening with only a slight slowing down for the “celestial light” passage. The minuet movement, a sort of bittersweet look back at happier times, saw wonderful playing during the pizzicato “tiptoe through the tulips” section.

Robertson’s judicious approach was again highlighted in the wild march music preceding the “Last Trump”: where Bernstein created pandemonium (in the Miltonic sense) Robertson’s relentless tread sounded all the more ominous. The soloists were all of a piece with the superb playing and conducting; mezzo soprano Caitlin Hulcup sang the Urlicht movement with gorgeous plangent tone and soprano Kiandra Howarth delivered her role with urgency, soaring effortlessly above the orchestra and choir to intensify Mahler’s ecstatic vision.

The singing of the Sydney Philharmonia Choirs (only 100 strong, much fewer than we normally see in this work) initially reminded me of the finest Welsh Choir (can there be greater praise?) in the way it stole in, then rising to a deafening climax, bringing a fitting end to Mahler’s eschatological masterpiece. 

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