![\"Review:](\"https:\/\/cloudimages2.broadwayworld.com\/5stars.png?format=auto&width=1400\" "\\"Review:")
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 M\u00e4kel\u00e4 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.<\/p>\n
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\u2019t raise your expectations, then nothing will.<\/p>\n
\nRoyal Concertgebouw Orchestra
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The two pieces on the programme (Berio\u2019s Rendering and Mahler\u2019s Symphony No. 5 in C sharp minor) are linked by their final movements; the \u201cScherzo\u201d and \u201cRondo-Finale\u201d, respectively, feel similar in mood and tone, both bringing the overall compositions to triumphant conclusions.<\/p>\n
Renderings is Luciano Berio\u2019s take on some of Schubert\u2019s unfinished work, in which he has pulled together different themes rather than try to \u2018complete\u2019 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\u2019s anachronistic to Schubert\u2019s original compositions, it brings a lightness to the whole piece – and Bal\u2019s performance reflected this.<\/p>\n
Concert-master Vesko Eschkenazy highlighted in his programme interview that the Concertgebouw Orchestra is well known for its presentations of Mahler\u2019s work, and the Fifth Symphony also happens to be one of his favourite pieces. The ensemble\u2019s 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\u2019 familiarity with the piece, and the style associated with M\u00e4kel\u00e4.<\/p>\n
It is a truly remarkable composition, as it draws on several deeply personal moments in Mahler\u2019s 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 \u201cmanic-depressive\u201d, due to its almost violent shifts in mood and tempo; this constant change in style proved a great foil for M\u00e4kel\u00e4\u2019s approach to conducting, his more exuberant gestures flowing naturally into something more pared back when required.<\/p>\n
\nKlaus\u00a0M\u00e4kel\u00e4
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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\u2019s a shame that several audience members around me didn\u2019t show the music the same respect, instead deciding to open snacks five minutes before the interval and persistently have whispered conversations.<\/p>\n
Even this lack of consideration couldn\u2019t 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\u2019s safe to say that M\u00e4kel\u00e4 worked his magic again; it may be a clich\u00e9 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.<\/p>\n
The BBC Proms run at the Royal Albert Hall until 13 September<\/p>\n
Photo credit: Chris Christodoulou<\/p>\n
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Reader Reviews<\/p>\n
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