MIRGA’S MAHLER IS MIRACULAR

The Resurrection Symphony, Birmingham Symphony Hall, 13 June 2019, ranging from cataclysm, spiritual pain and glory, towards prayer as well as bodily embonpoint, picking precise en pointe stitches of sound for samplers, the acoustics of where I sat on level four being absolutely basmati perfect — as well as vast swathes of tidal emotion, with every possible force of high and low, in position and scale. Thump and tweak. Bizarre and wholly of common sense. Lifted and sunk. This young lady interpreted anew my lifetime of experiencing the symphony. Still resounding as I think about it now. Horns on high, even an organ factored in. And the two solo voices coming out of nowhere into an even greater nowhere of rich flotation amid seated chorus of deep-edged whispers, incantations, prayers, ending in raw roars so bespoke they were not raw at all. Bells and whistles. Even the sink. Swirls of the earlier conducting hand making the performers lift up to accept their own retrocausal player prayer returned to them by us the complicit audience. The optimum gestalt, bass, base and tench.

Mirga Gražinytė-Tyla

City of Birmingham Symphony Orchestra

CBSO Chorus (David Lawrence)

Lucy Crowe, Karen Cargill.

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