Programming Sergei Rachmaninov's dark tone poem The Isle of the Dead and the even darker choral symphony The Bells in one concert may sound like a sure way to plunge an audience into despair, but Estonian conductor Mihhail Gerts, a fine trio of soloists, the National Symphony Chorus and the National Symphony Orchestra made it a season finale to cheer.
The various sections of the NSO meshed seamlessly for a thrilling performance of the concert opener, The Isle of the Dead. Rachmaninov was inspired by the Swiss symbolist painter Arnold Böcklin's painting of a boat with a single passenger and what appears to be a coffin in the bow being rowed across a dark expanse of water to a craggy islet lined with cypress trees.
The piece opened with low strings, timpani and harp in 5/8 time, evoking a boat moving across water, and Gerts and the NSO made us feel like we were on board. A horn solo briefly pierced the gloom, but there was little respite as the boat approached the islet, where a superb brass ensemble announced the journey's emotional end. The NSO put its heart and soul into that climactic moment, which winds down with the Dies irae intruding softly, but insistently. Leader Elaine Clarke played a wistful solo on the violin, after which the boat begins its return voyage – again in 5/8 time. Riveting from beginning to end.
As if that weren't soul-searing enough, Gerts followed up in the second half with Rachmaninov's almost contemporaneous, but perhaps even more chilling, choral symphony. The text was by Russian poet Konstantin Balmont's “re-interpretation” of Edgar Allan Poe's The Bells. Rachmaninov said the poem spoke to him because life in Russia was lived to the sound of sleigh bells, wedding bells, church bells and more.