Wagner, Britten, Mendelssohn
Fall has most certainly arrived in Salzburg, but with it the concert season also picks up. Tonight, the Camerata Salzburg opened its year with a spirited performance under the St. Petersburg-trained Greek conductor Teodor Currentzis. I had never heard of Currentzis, who seems to have mostly vanished inside the Russian Federation for his career, but he is quite talented. Indeed, the orchestra parted ways with their unremarkable chief conductor (Louis Langrée) last season and decided to go without one – but maybe they should keep this one! They clearly had an excellent rapport with him, and their enjoyment spilled off the stage into the Mozarteum’s Great Hall.
The centerpiece of tonight’s concert was a somewhat unusual work by Benjamin Britten, his Seranade for Tenor, Horn, and Strings. A not-quite-tonal work, it sets six poems written over six centuries, and prompts difficult blends of colors, which Currentzis coaxed with ease from the orchestra. The tenor soloist Samuel Boden and hornist Johannes Hinterholzer fully grasped the mood as well, with their idiomatic readings. Although on a modern horn for the songs themselves, Hinterholzer played the Prologue and Epilogue on a natural horn – the last as a backstage solo with the lights in the hall fading to darkness.
Sandwiching this peculiar Britten piece came two more traditional – but themselves quite different – works. The concert opened with Wagner‘s Siegfried Idyll, here performed extremely delicately by Currentzis and the Camerata. This was perhaps the Idyll Wagner intended, as a brithday morning wake-up gift for his wife, although tonight working equally as well to set the relaxed mood at the end of a hectic week.
After the intermission came a boisterous Symphony #4 by Felix Mendelssohn, which coming after the Wagner and Britten works demonstrated the Camerata’s sheer musicality. This is a chamber orchestra, so they did not augment the string section although adding the assorted wind instruments – this allowed Currentzis to highlight the various lines in those instruments, over a string foundation, with the orchestra capturing all of the nuances.
The audience exploded in applause. This applause, on top of the Mendelssohn, may have raised the roof in the hall, so Currentzis and the orchestra felt compelled to sedate everyone again with an encore (not a bad idea at all). Currentzis spoke a long introduction for this encore, emphasizing the need for silence and inner reflection after the wild performance of Mendelssohn, but he never actually told us what it was. It was some quiet minimalist piece of no particular interest (performed with the house and stage lights off, illuminated only by the music stand lights) that – to be frank – was anti-climactic after his long-winded introductory remarks. Far better would have been to turn the lights off and let us meditate in actual silence before heading back out into the night. But given the music-making of the rest of the evening before the encore, all is forgiven.