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| José Luis Gomez, Music Director Tucson Symphony Orchestra |
This was a fine and joyous performance. The brass, percussion, and woodwind-swollen orchestra, alternately stretched out in long-spun soundscapes, attacking in thunderous outbursts, and finally layering into Mahler’s otherworldly culmination of musical forces, performed very well under Maestro José Luis Gomez’ steady, studied, expressive, can't miss direction. The multi-ensemble symphonic chorus produced Mahler’s delicate dissonances and ultra-powerful divine declarations in fine form.
Vocal soloists Kelly Nassief and Emily Marvosh both achieved that seemingly impossible combination of powerful projection, tonal variation, and exaggerated annunciation that is required to deliver Mahler’s grand settings of the Urlicht (4th mvt.) and Auferstehen (Finale). Concertmaster Loren Roth’s several solo contributions were deliciously outstanding and were heavily lauded during ovations by the audience. The off-stage horn calls and “band”, apparently following maestro by digital means, were fully and seamlessly integrated into the finale’s sprawling sonic textures. The piccolo and flute dialog with the off stage band created a most haunting atmosphere just before the finale’s choral entrance. Divine!
The woodwinds and percussion, both in double force, had to be and were spot on to carry their part of the many huge yet finely crafted orchestral sonorities Mahler synthesizes. Great work there! The expanded brass sections sounded excellent in the hall, though not fully together at a couple of points in the sonic chaos. From where I sat on the main floor, things looked a bit odd. I could not see any of the brass or woodwinds, which makes me wonder if they could even see the conductor. Did someone run off with their risers? However it happened, the presence of the chorus in back, and the brass sitting lower, actually helped the overall acoustic balance, as the violins, which often disappear into the ceiling rafters, were very pleasingly more distinct, a serendipitous combination of questionable acoustics and excellent orchestration.
Make no mistake: this was, especially in the half-hour finale, a tour de force of large ensemble conducting on the part of José Luis Gomez; well-planned, beautifully sculpted, and clearly communicated. The result, drawing out a fine performance, was deeply satisfying. I will head back for more this afternoon!
This music, Mahler's Second Symphony, is an event to experience, as much as it is a majestic musical journey. This is a very busy arts weekend in Tucson. Still, if you want to experience something very special that happens less than once per decade, grab one of those seats in the Linda Ronstadt Music Hall this afternoon at 2:00.
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