The Finale was a rhythmically taut affair and hard driven.
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Alpine vistas were authoritatively conjured in the Andante, its climaxes finely judged, and its main theme distinguished by fabulous string tone, if one not necessarily conveying nostalgia. Its rhythmic bite was no less demonstrative, nor sonorities any less distinctive, ‘bells up’ clarinets enjoying its Klezmer inflections. The decision to place the Scherzo second added to the endless debate as to Mahler’s intentions for its place within the symphony yet made absolute sense here in the way Petrenko conceived it as an expanded epilogue to the first movement. Mahler’s sonic variety was nicely spot-lit in the opening movement – tremolo strings, harp and celesta catching the ear, and an impish (or was it macabre?) wit breaking through the metallic surface near the close. His grip on proceedings showed little sign of relaxing even for the Alma theme, where violins played with a fierce passion, marvellously unanimous in tone, if somewhat overheated. Petrenko’s Mahler was a different animal all together, grimly determined bow strokes at the start, both brutal and uncompromising, and coloured, over the course of its 80 or so minutes, by an unrelenting intensity that was emotionally draining. The “brave white horses” of The Swimmer needed little imagination to conjure the swell of the sea and throughout, the RPO were considerate collaborators with Petrenko bringing clarity and refinement to the work’s ever-changing sonorities. In Haven was a delight and the mysteries of the deep graphically conveyed in Where corals lie. She’s a natural performer, and this was a masterclass in communication with her expressive hands and ever-mobile face.
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There were hints of a rich contralto register in Rudge’s lightish mezzo, and a fulsome upper range, but her climax closing Sabbath Morning at Sea never quite found another vocal gear, notwithstanding her perfectly manicured tone.
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Mercifully, she wasn’t attired as a mermaid, as reportedly was Dame Clara Butt for the work’s 1899 premiere in Norwich. But Kathryn Rudge also fully identifies with Elgar’s settings and brought off an impressive rendition plumbing their emotional depths. The songs are much associated with Dames Janet Baker and, in recent years, Sarah Connolly. Elgar is still regarded as a quintessentially English composer, but his musical roots are continental, very much in evidence in Sea Pictures where little or nothing might be described as “stout and steaky”.