Toronto Symphony Orchestra. Adès: Paradiso from Dante; Concerto for Piano and Orchestra (Kirill Gerstein, soloist). Holst: The Planets. Thomas Adès, conductor. Roy Thomson Corridor on Feb. 26, 2025. Repeats Feb. 27 and March 1; tickets right here.
Fairly a combo Wednesday night time in Roy Thomson Corridor. On the rostrum was Thomas Adès, arguably the best-known dwelling British composer of live performance music, making his Toronto Symphony Orchestra debut. On this system was the Canadian premiere of his Concerto for Piano and Orchestra, with Russian-born, Berlin-based Kirill Gerstein because the stellar soloist.
After intermission we heard Holst’s The Planets, arguably the preferred work within the British orchestral repertoire. Fairly a combo, and a wholesome crowd to match.
Which isn’t to say the live performance bought off to the strongest attainable begin. Paradiso from Dante’s Divine Comedy is an formidable topic for musical therapy. Adès has conceived of it as a beehive of sonority. Many had been the repetitive rising figures, together with a motif that sounded (to me) like a borrowing from Brahms.
Rhythms had been heavy and protracted. The sudden entry of 18 feminine voices (from the Soundstreams Choir 21) halted the perpetual movement solely briefly. This amply orchestrated piece (the truth is Act 3 of a full-evening ballet referred to as Dante) lasted 24 minutes. I had had my fill of paradise after about 10.
The concerto was extra participating. Finest was the moonlit center motion, with its delicate (reasonably than overwhelming) touches of percussion and equitable steadiness of piano and orchestra. Harmonies had been principally dissonant however melodic motifs had been surprisingly easy. The solemn coda featured a bass drum, evidently considered one of Adès’s favorite devices.
The outer actions had been frenetic and filled with unpredictable results. We heard parts of jazz, Ravel and Prokofiev. Generally the function of the soloist was to calm issues down, if solely briefly. Liszt made a cameo look within the closing minute, full with double octaves, to convey the rating to a rollicking shut. Gerstein, who has carried out the piece greater than 50 instances, mustered the required bravura. It’s vital that he nonetheless retains a pill in entrance of him, simply in case.
Holst
A tall and athletic determine with an exacting baton approach, Adès proved an authoritative conductor of his personal music. And the music of others. Removed from a run-through, his therapy of The Planets was filled with character and idiosyncratic tempo modifications. Venus, the Bringer of Peace, was splendidly delicate and delicate. Saturn, slower than ordinary, was really the Bringer of Outdated Age.
Mercury sparkled, Uranus hobbled humorously. The climaxes of Mars had been actually loud sufficient. The large tune in Jupiter was surprisingly brisk and détaché. Certainly we’d like extra sentiment right here. Neptune — essentially the most distant of the planets for Holst in 1916 — was performed fluidly, virtually with no pulse. Area itself appeared to disintegrate. The choristers (ready by David Fallis) had been backstage for the mesmerizing fadeout.
The TSO adopted Adès’s inspirations faithfully. Solos had been splendid. Principal oboe Sarah Jeffrey was maybe first amongst equals. The silky-sounding concertmaster was Ji Yoon Park, a customer from the Radio France Philharmonic.
After a number of seconds of post-Neptune silence, the group applauded lustily, if not for lengthy. It was a heterogeneous mixture of casually dressed newcomers and veteran subscribers. Some seemed to be conscious that a number of planets lately are sharing the seen sky. I noticed not less than two listeners carrying astronomy-themed clothes. I doubt that the TSO booked the Holst with the conjunction in thoughts.
Anyway, the orchestra is clearly doing one thing proper.
Are you trying to promote an occasion? Have a information tip? Must know the perfect occasions occurring this weekend? Ship us a observe.
#LUDWIGVAN
Get the every day arts information straight to your inbox.
Join the Ludwig Van Toronto e-Blast! — native classical music and opera information straight to your inbox HERE.
Arthur Kaptainis was classical music critic of the Montreal Gazette from 1986 to 2022 and wrote for the Nationwide Publish from 2010 to 2016. His articles seem in Classical Voice North America and Gramophone in addition to Ludwig Van. Arthur holds an MA in musicology from the College of Toronto. He’s president of the Music Critics Affiliation of North America.
