thu 17/10/2019
Home > node > Gergiev, World Orchestra for Peace, Royal Albert Hall

Gergiev, World Orchestra for Peace, Royal Albert Hall | reviews, news & interviews

Gergiev, World Orchestra for Peace, Royal Albert Hall

Gergiev, World Orchestra for Peace, Royal Albert Hall

A lousy Mahler Four and an invigorating Mahler Five

by Friday, 06 August 2010
Share
Valery Gergiev: 'This wasn't a Mahler performance about the eternal but about the moment. And in Gergiev's hands every moment was vital.'Chris Christodoulou
It seemed odd on paper. Two Mahler symphonies? In one night? I don't think I'd ever seen that. Last night's Prom showed why not. While Valery Gergiev's second half Mahler Five saw the stage transfigured into a writhing sea of bodies and the air filled with an epic sound, his first half starter, Mahler Four, fell flat on its face. One was a performance; the other was a rehearsal to a performance.
 

Comments

Submitted by Frankie Perry (not verified) on Sat, 07/08/2010 - 18:22
The Principal Trumpet was Timur Martynov, and Gareth Davis wasn't on the flute. A bit harsh about the 4th in my opinion.

Submitted by Igor Toronyi-Lalic on Sat, 07/08/2010 - 18:58
You're absolutely right about the trumpeter, Frankie. Many thanks. Error corrected. The principal flautist in the Fourth certainly looked like Gareth Davies - whereas he definitely didn't resemble any of the other flautist listed in the programme. I felt he must have taken the place of LPO flautist Jaime Martin who I couldn't see. But I could be wrong.

Submitted by Charles Kaye (not verified) on Mon, 09/08/2010 - 07:38
Dear Mr Toronyi-Lalic You might have taken the trouble to check your facts before posting such an ill-informed criticism as yours on Friday. Maestro Gergiev arrived in London 4 days prior to the concert and had a total of 5 rehearsals, totalling 16 hours, of which more than 9 was spent on Mahler 4. Thanks to the BBC’s co-operation, two of these took place in the Hall itself, which is virtually unprecedented at the Proms. You are of course entitled to your opinion as to the success, or otherwise, of the performance and of Gergiev as a Mahler interpreter – but I ask that you remove the factual inaccuracies in your review, as my Orchestra is not prepared to let this stand as a matter of record and I trust that you do not wish to bring your website into disrepute. Yours sincerely – Charles Kaye Director, World Orchestra for Peace

Submitted by Charles Kaye (not verified) on Mon, 09/08/2010 - 07:47
And Jaine Martin was most certainly playing principal on Mahler 4...

Submitted by Charles Kaye (not verified) on Mon, 09/08/2010 - 07:49
Apologies, Jaime.... (typo)

Submitted by Igor Toronyi-Lalic on Mon, 09/08/2010 - 12:57
Many thanks for that information, Charles. I've amended my copy in light of what you say. I will just add one point. I think it speaks volumes about this orchestral enterprise - which strikes me as being supremely noble but flawed - that Gergiev spent nine hours with the orchestra on the Fourth and still couldn't deliver the goods.

Submitted by Charles Kaye (not verified) on Mon, 09/08/2010 - 15:36
Strange, Igor (don't you think) that you are the only reviewer (of 25 I have read to date) that felt Mahler 4 was under-rehearsed.... Might be more constructive if you leave reviews of future Gergiev concerts to one of your colleagues. And of course we are flawed - (nobody's perfect) - but at least we are trying to get a constructive message across through our concerts. Perhaps one day you will get the point -and join us in a more constructive approach...! Charles

Submitted by Igor Toronyi-Lalic on Mon, 09/08/2010 - 16:47
Strange that you missed all of these, Charles... The Independent: 'How much rehearsal time did they have for this concert? Not enough, one sensed'. The Telegraph: 'More glamour than polish'; 'individuality was more prominent than cohesion'. The Guardian: 'The teamwork doesn't consistently click'; 'there were some messy moments in both symphonies'. MusicalCriticism.com: 'The little rehearsal time that such assembled forces are allowed was glimpsed'; 'the second movement of the Fourth Symphony was just held together'. Norman Lebrecht: 'The fourth symphony was semi-coherent.' I'll leave it at that.

Add comment

Subscribe to theartsdesk.com

Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 10,000 pieces, we're asking for £3.95 per month or £30 per year. We feel it's a very good deal, and hope you do too.

To take an annual subscription now simply click here.

And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?

more Classical music

Dariescu, Moscow Philharmonic Orchestra, Simonov, Symphony Hall, Birmingham review - Soviet fear and loathing Brutal yet beautiful performance of Shostakovich's Tenth Symphony
theartsdesk Q&A: Gianandrea Noseda on conducting Mahler and the Pan-Caucasian Youth Orchestra The Italian conductor reflects after a blazing 'Resurrection' at the Tsinandali Festival
Zauberland, Linbury Theatre review - an adaptation that adds much and gains nothing This topical updating of a classic song-cycle feels laboured
Bevan, The Sixteen, Genesis Sixteen, Christophers, Barbican review - MacMillan transcends again Thoughtful showcasing of UK and London premieres for the Scotish composer's latest
theartsdesk at the Tsinandali Festival: young Caucasians join hands and instruments World-class chamber players and young orchestras on a Georgian country estate
Verdi Requiem, LPO, Gardner, RFH review – beyond the big noise The LPO's incoming chief delivers a well-defined, strong-minded interpretation
Classical CDs Weekly: Ed Lyon, Jason Vieaux, Irina Borissova Baroque songs, guitar quintets and a recital from a young Bulgarian violinist
Brockes-Passion, Arcangelo, Cohen, Wigmore Hall review – hybrid Handel An original alternative to Bach loses impact in small-scale performance
Cargill, RSNO, Søndergård, Usher Hall, Edinburgh review - luscious opening to a rich season Youthful inspirations by Strauss, Berg and Mahler mark a significant birthday
Leonskaja, Ferchtman, Várdai, Wigmore Hall review - direct line to Schubert's genius Three peerless players clarify the wonders of the composer's two late piano trios
'A laboratory for everything': Jasper Parrott on the future of his classical music agency As Harrison Parrott celebrates 50 years with concerts on Sunday, its main mover reflects
Classical CDs Weekly: Brahms, Bright, Dvořák, Gipps, Rota Romantic symphonies, iconic film music and neglected British piano concertos

newsletter

Get a weekly digest of our critical highlights in your inbox each Thursday!

Simply enter your email address in the box below

View previous newsletters

Advertising feature

★★★★★

‘A compulsive, involving, emotionally stirring evening – theatre’s answer to a page-turner.’
The Observer, Kate Kellaway

 

Direct from a sold-out season at Kiln Theatre the five star, hit play, The Son, is now playing at the Duke of York’s Theatre for a strictly limited season.

 

★★★★★

‘This final part of Florian Zeller’s trilogy is the most powerful of all.’
The Times, Ann Treneman

 

Written by the internationally acclaimed Florian Zeller (The Father, The Mother), lauded by The Guardian as ‘the most exciting playwright of our time’, The Son is directed by the award-winning Michael Longhurst.

 

Book by 30 September and get tickets from £15*
with no booking fee.