Life imitating art, or the other way round? Just as stargazers prepared for a rare alignment of the seven planets, so the Toronto Symphony put on its own planetary parade, with Thomas Adès pairing the crowd-pleaser that is Holst’s The Planets with his own cosmologically structured Paradiso.
Completed in 2020, Paradiso is the last part of Dante, a ballet triptych on The Divine Comedy. A series of inter-related episodes depicts the completion of Dante’s pilgrimage through the planets towards the Empyrean. Starting with a bright splash of orchestral colour, the music follows recurring circling figurations, spiralling upwards in a gradual dramatic crescendo and spatial expansion. This is a masterclass in how to write repetitive patterns without falling into the mind-numbing laziness of the Philip Glass kind. Ethereal overtones alternate with explosive brass fanfares as the music seemingly defies gravity. Its final ecstasy is depicted not by a sonic big bang, but by a heavenly chorus, here, featuring Soundstreams Choir 21. This Gurrelieder-meets-Scriabin’s First Symphony apotheosis may be a spiral too far even for Adès’s prodigal imagination, but only because what precedes it is so enthralling.
A galaxy away from the expanded tonality of Paradiso is Adès’s hard-edged, jazz-infused Piano Concerto, here receiving its Canadian premiere with the sensational Kirill Gerstein, also making his Toronto debut. The sheer physicality of the music needs to be seen to be believed. In three movements, laid out in traditional fast-slow-fast fashion, the concerto is as glitzy and as chaotically exciting as a night out in the heart of Manhattan on stimulants, yet without a trace of commercial compromise or opportunism. The soundscape of the second movement is eerily evocative, as the piano wanders around the orchestra’s noctambulations. And the finale is a cocktail of mischievous wit and coruscating energy. Prokofiev would surely have smiled, and even Rachmaninov and Liszt might have nodded in appreciation at the ferociously demanding parallel octaves.