The Orchestre symphonique de Montréal’s ingenious and engaging Romantic Lieder program comprised four works central to German (and Austrian) romanticism and post-romanticism. The concert’s first half contrasted Isolde’s transforming love into death in the orchestral version of Wagner’s Prelude and Liebestod from Tristan und Isolde with Schoenberg’s Verklärte Nacht. The second half opened with Schubert’s impassioned Unfinished Symphony and its pre-Romantic yearning for contentment and, ultimately, serenity before concluding with the autumnal nostalgia of Richard Strauss’ Vier letzte Lieder.
The concert was being filmed and recorded for broadcast so the orchestra’s full complement of players were not only decked out in their finest regalia but also on their best musical behaviour. This was evident in the Prelude and Liebestod from Wagner’s revolutonary Tristan und Isolde. From the opening hushed chords of the Prelude, the sheer plastic and transparent beauty of the ensemble’s rich sonority was mightily impressive. Conductor Kent Nagano ably underscored the work’s subtle harmonic shifts and adjustments while maintaining an admirable balance of collective textures. Yet throughout there was a near total absence of dramatic energy and involvement. Indeed for all its surface beauty, the performance appeared inhabited by a palpable emotional and expressive detachment. The phrasing, its direction and impulsion especially, lacked any feeling of sustained intensity.
After a major rearrangement of chairs and music-stands, the full team of OSM strings offered an often riveting reading of Schoenberg’s Verklärte Nacht (Transfigured Night). Nagano seemed here a man transformed if not quite transfigured. The technical expertise and class of the playing was only matched by the string ensemble’s musical commitment. Even when divided into sections, and brilliantly led by the string sextet, the OSM strings’ depth of sound and tonal opulence highlighted Schoenberg’s uncompromisingly lush post-romantic language while never losing the work’s internal pulsation or thread. Nagano’s reading emphasised the work’s harmonic richness that not only harked back to Wagner’s Liebestod but that was so fundamental to its structural integrity. Though he occasionally buried individual voices, Nagano’s interpretation benefited from outstanding solos most notably from concertmaster Andrew Wan whose inspired ponticello articulation was rivalled by Neal Gripp’s glowing viola solos.