MÄKELÄ CONDUCTS MAHLER’S FIFTH, Royal Albert Hall

The natural big events of every Proms season are the First and Last Nights – but when a superstar conductor in the making is booked for two appearances, these concerts also become moments to which audiences will gravitate. Klaus Mäkelä has plenty of achievements under his belt already, making his concerts appointment viewing; it came as no surprise that the Prommers were queued around the block before the doors opened, each hoping to claim a good spot for the evening.

As I walked through the Royal Albert Hall corridors to take my seat, I even overheard a member of the orchestra telling someone how excited they were about the concert in which they were about to perform – if this doesn’t raise your expectations, then nothing will.

Royal Concertgebouw Orchestra

The two pieces on the programme (Berio’s Rendering and Mahler’s Symphony No. 5 in C sharp minor) are linked by their final movements; the “Scherzo” and “Rondo-Finale”, respectively, feel similar in mood and tone, both bringing the overall compositions to triumphant conclusions.

Renderings is Luciano Berio’s take on some of Schubert’s unfinished work, in which he has pulled together different themes rather than try to ‘complete’ particular sketches that the Austrian composer left behind upon his premature death. At times bright and bubbly, and at others slightly more soporific, the highlights for me were the interludes from the celesta (manned by pianist Jeroen Bal). Although it’s anachronistic to Schubert’s original compositions, it brings a lightness to the whole piece – and Bal’s performance reflected this.

Concert-master Vesko Eschkenazy highlighted in his programme interview that the Concertgebouw Orchestra is well known for its presentations of Mahler’s work, and the Fifth Symphony also happens to be one of his favourite pieces. The ensemble’s expertise in Mahler was evident in their confident and precise performance; the great details that came to the fore in this rendition were presumably a combination of the musicians’ familiarity with the piece, and the style associated with Mäkelä.

It is a truly remarkable composition, as it draws on several deeply personal moments in Mahler’s life – such as his near-death experience on the operating table, and finding love with his future wife Alma Schindler. The five movements are described in the programme as being “manic-depressive”, due to its almost violent shifts in mood and tempo; this constant change in style proved a great foil for Mäkelä’s approach to conducting, his more exuberant gestures flowing naturally into something more pared back when required.

Klaus Mäkelä

So meticulous was he in the overall sound that the orchestra produced, that in the quieter sequences of both pieces he took almost exaggerated care in turning the pages of his score completely silently. It’s a shame that several audience members around me didn’t show the music the same respect, instead deciding to open snacks five minutes before the interval and persistently have whispered conversations.

Even this lack of consideration couldn’t spoil an engrossing evening of top quality musicianship. The Royal Concertgebouw Orchestra was on great form, and gave an enthusiastic and authoritative performance – these two pieces mean a lot to them, and it definitely showed. Up on the podium, it’s safe to say that Mäkelä worked his magic again; it may be a cliché to say it, but it really was impossible to take your eyes off him. He is the kind of character upon which the Proms season thrives, and I hope to see him return for many years to come.

The BBC Proms run at the Royal Albert Hall until 13 September

Photo credit: Chris Christodoulou

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