The evening concert started with the overture of Lohengrin. Jukka-Pekka Saraste took a poised temple and the strings of Singapore Symphony rose to the ocassion to provide that mythical sound. This probbaly was intedned to set the mood for the Four Last Songs - I guessed.
Evelina Dobračeva was the star soprano. Frühling got off to a sure, if a little safe start. The best was probably Beim Schlafengehen, sung with great stillness. September and Im Abendrot felt unblanaced - Dobračeva's subtle words were somehow lost among the swell of orchestral sound. This was followed by Morgen - probbaly the best song of the evening, perhaps the very light orchestration helped.
Jukka-Pekka Saraste and SSO were on surer footing with Sibelius 5. The first movement was brisk with lightness and details. The second and last movements felt cohesive, leading to the well known tune in the finale. If only there were more people in the concert hall to enjoy the music.
Those of us London-centric folks easily forget there are great concert halls in other parts of the world. I remember as a young kid buying DG LPs with von Karajan on the front cover conducting the Berlin Philharmonic. So as my first visit to the city, a visit to the Philharmonie to listen to the Berlin Philharmonic Orchestra was a must. Ivan Fisher started the evening's concert with Haydn Symphony 88. A light and delightful work. As I'd expected, the acoustic of the hall was amazing - probably a good 2.5 second of reverberation - and much more generous than the Royal Festival Hall in London. The strings sounded sweet and the timpani came through clearly with definition. The audience was then treated to Béla Bartók's Seven Pieces for Choir and Chamber Orchestra: the Berlin Phil reduced in size occupying only half of the stage while the Netherlands Youth Choir took the other half. These young performers (all female) sang in Hungarian from memory - not easy at all - and rea...
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