The specter of death hung heavily over the Philadelphia Orchestra’s first subscription concert of 2025. Yet the mood of the performance rarely felt morose. The approach taken by Yannick Nézet-Séguin to Mahler’s Symphony no. 9 in D major, given alongside a deeply felt recent work, often seemed cheerful rather than complex. The result made for an exciting program that nevertheless lacked the precise emotionality promised by the works and the themes they address.
Few subjects carry as much weight as those that inspired Jake Heggie’s Songs for Murdered Sisters. Canadian baritone Joshua Hopkins commissioned the piece after his sister, Nathalie Warmerdam, was killed in 2015 by a former romantic partner. In setting eight poetic texts by Margaret Atwood, Heggie and Hopkins attempt to face head-on the scourge of domestic violence that too often costs women their lives.
Like much of this composer’s output, though, the music came across as melodic and genial, yet slightly general in nature. A number of percussive elements sounded genuinely jarring and conveyed an undercurrent of looming violence – a ghostly cymbal here, a barrelling bass drum there. But the core of the score resided in an overly lush string complement that found Nézet-Séguin overdosing on the customary warmth of this ensemble’s sound, particularly in the cellos and double basses. The result seemed more Romantic than unsettling, and despite defined rests after most of the movements, the songs eventually began running together.
For his part, Hopkins offered an impassioned performance, shading his essentially lyric instrument to convey anger, grief and resignation. In the cycle’s fourth song, Dream, he slimmed his voice to a near-whisper, finding an almost childlike simplicity in the fantasy that his sister might still be alive in some alternate reality. By contrast, he thundered through the penultimate poem, Rage, projecting with operatic fury the desire to end the life of the man who permanently altered his own. To date, only Hopkins has performed this work; it remains to be seen what sort of life it might have beyond his uniquely personal interpretation.