Runnicles’ SSO sweeps the audience up in a highly coloured soundworld

Sydney Symphony Orchestra | Donald Runnicles conducts Mahler’s Fourth Symphony

September 25, 2024,  Sydney Opera House, NSW

DONALD RUNNICLES conductor

YING FANG soprano 

ANTON WEBERN (1883-1945) – Im Sommerwind (In Summer Wind): Idyll for Large Orchestra

RICHARD STRAUSS (1864–1949) – Wiegenlied, Op.41 No.1 (1899), Morgen!, Op.27 No.4 (1894), Zueignung, Op.10 No.1 (1885)’ Die Nacht, Op.10 No.3 (1885), Allerseelen, Op.10 No.8 (1885)’ Muttertändelei, Op.43 No.2 (1899) 

GUSTAV MAHLER (1860–1911) – Symphony No.4 (1899–1900)  

In the period after the Great War of 1914 – 1918 the music of Anton Webern developed along expressionistic lines of intellectual thought and was not easily understood by the audiences of then, or for that matter, even now. However this precocious young talent produced an orchestral score at the age of 20 that audiences now find totally absorbing. This is music in the grand tradition of the Romantic Period with hints to composers like Brahms, Mahler and Richard Strauss. 

Runnicles directed this almost painterly score without fuss allowing the musicians to weave their short melodies over the large broad strokes of sound. A work new to me and I guess most of the audience and probably a good few members of the orchestra too. 

Soprano Ying Fang with a totally precise approach to 6 songs by Richard Strauss was beautifully supported by the orchestra and the soloists within. Concertmaster Andrew Haveron was perfection in the violin solo Morgen. This is music, and so is the Mahler symphony in the second half of the concert, that the SSO plays best of all as it is able to sweep the audience up in a highly coloured soundworld and many competing emotions. 

Mahler’s Symphony No.4 demands much from the orchestra and also the listener with rapid changes in tempos and also sustained sections of gentleness. Drama is foremost in the opening movements and Haveron was magic and soared in the folk-fiddle-like violin solo and principal horn Samuel Jacobs was outstanding. His approach to tonal variety was a delight. Stunning solos from so many woodwind/brass principals abounded throughout with probably Shefali Pryor (oboe) shining brightest. Louisic Dulbecco (harp) was the centre of attention towards the end of this nearly 1 hour work. She plucked and strummed with elegance and was as good as I have ever heard. In the final movement Ying Fang seemed totally at ease with the soprano invocation to heaven and love. 

Runnicles is a conductor who serves the music and brings the orchestra along with him. He clearly knows and loves this repertoire and he conveyed this to all at the Opera House.