“Mahler Grooves” – two words that, at least on their surface, aren’t overtly complimentary. Yet the phrase has its origins in Los Angeles classical music lore when devotees of the composer created their own bumper stickers in the 1970s to celebrate Mahler’s music as something far out indeed. The phrase returns to circulation in earnest as the title of the LA Phil’s Mahler festival. Programs include a public listening party and a “Mahlerthon” featuring a full day of performances from youth and college orchestras. Thursday evening’s program, “Mahler’s Journey”, opened the festival with Artistic Director Gustavo Dudamel conducting a compelling concert.
The first half featured two “bookends” of Mahler’s musical output, one of his early creations, Blumine, discarded from his First Symphony, and the Adagio from the composer’s unfinished Tenth. The second half featured a collection of songs, predominantly from his settings of Des Knaben Wunderhorn, tiny masterpieces that are the DNA of Mahler’s sprawling symphonies. It was a fascinating mix of the composer’s music, but rather than give a bird’s-eye view of the composer’s work, the first half felt unsatisfying. It was the second half where Mahler got his groove back.
Thanks to commanding contributions from the excellent soloists, Ekaterina Gubanova and Simon Keenlyside, Mahler’s unparalleled synthesis of musical colors, motifs and emotions came to life. Keenlyside, a seasoned operatic professional, was very much at home in this music. Despite appearing to be suffering a minor cold, his voice was powerful and his musical insight masterful. He was comfortable using his whole physicality, moving and gesturing thoughtfully in support of his honeyed voice which was able to capture a range of moods and emotions. His Revelge was one of the highlights of the evening with Mahler’s sardonic musical phrases snarled and sung with gusto. Ich ging mit Lust durch einen grünen Wald, the epitome of Mahler's songs, was mesmerizing.
Ekaterina Gubanova’s mezzo-soprano is a beautiful instrument. Although lacking some power in the lower range, the middle of her voice is often breathtakingly beautiful, recalling some predecessors who excelled in this music. Gubanova was an elegant presence. Her performance of Rheinlegendchen was charming. Wer hat dies Liedlein erdacht? was vocally impressive and sung with elegance. Dudamel and his band were very comfortable here, leaning into the drama and supporting the singers despite a few balance issues.
Dudamel’s reading of the Adagio felt oddly unaffecting. Despite breathtaking playing from the violas, this music was detached from emotion. What should have been a startling cry from an anguished composer felt more like an academic exercise with moments of tension and sorrow barely eliciting notice. Blumine was tenderly offered and featured beautiful playing as well, but it’s hard to argue with the composer’s ultimate judgement of its worth. Still, with the shadows of future compositions unmistakable, Mahler’s groovy music, even Blumine, is in good hands in Los Angeles.
