Although the Orchestra Sinfonica Nazionale della Rai (OSN Rai) is a relative newcomer on the orchestral scene, making its official debut in 1994 under conductors Georges Prêtre and Giuseppe Sinopoli, it was born out of the merger of four radio orchestras (Turin, Rome, Milan and Naples). It is based in Turin, giving most of its concerts in the RAI Auditorium, and is run by state radio and television company RAI. All the concerts of the OSN Rai are broadcast on Rai Radio 3, with many of them recorded and televised on Rai3 and on Rai5.
Slovakian Principal Conductor Juraj Valčuha is at the helm for eleven Turin concerts in 2014-15, with Beethoven’s powerful Missa solemnis launching the season. One of Beethoven’s greatest works, it isn’t performed anywhere near as much as it should be. A strong vocal quartet headed by Veronica Cangemi has been assembled. Later in the season, Valčuha offers another choral masterpiece, Mozart’s Requiem.
One of the loveliest programmes combines Respighi’s Pines of Rome and Fountains of Rome with Berio’s Voci (Folk Songs II), while the Christmas programme – often a limp effort in many orchestral seasons – actually offers some tasty fare, with a couple of musical birds – Ravel’s Mother Goose and Stravinsky’s Firebird – on the festive menu. Valčuha obviously has a knack of putting together attractive programmes; in January he pairs Mahler’s Das Lied von der Erde with Haydn’s Symphony no. 45 in F sharp minor. The link? Farewells. “Der Abschied” (The Farewell) is the moving final poem set in Das Lied. Haydn’s symphony is nicknamed “The Farewell”, where in the last movement the players are instructed, one by one, to cease playing, snuff out their candles on their music stands and leave the stage – a subtle hint to Haydn’s patron, Prince Nikolaus Esterházy, that it might be time for his musicians to leave the summer palace at Eszterháza and return to their homes in Eisenstadt.
A couple of Czech-influenced concerts stand out; Jakub Hrůša is on home territory with Dvořák’s Sixth Symphony, while Michele Mariotti tackles the six evocative tone poems which form Smetana’s Má vlast. Russian fare arrives with Rachmaninov’s epic Second Symphony and Tchaikovsky’s Third, known as “the Polish” because the rhythm for the finale is a Polonaise. The whole symphony is infused with dance rhythms, so it’s no surprise that George Balanchine used the last four movements for the Diamonds section of his ballet Jewels. Kirill Karabits is on the podium for the Tchaikovsky.