For some it was the prospect of hearing Andris Nelsons’ version of the Rite of Spring (which so wowed Thursday’s audience) although I suspect the presence of soloist Anne-Sophie Mutter was chiefly responsible for Saturday’s full house. Mutter certainly knows how to seize the moment, and the opening Allegro of Dvorak’s Violin Concerto burst out with a gypsy-like fire that in places ventured close to the edge of ferocity. However, despite her brilliantly honed tone, stunning finger work and breath-taking dynamics (Mutter’s bowing has the suppleness and grace of an ice skater), as an interpretation it displayed more determination than affection.
True, the Adagio’s almost unbroken stream of melody was maintained superbly well, but the Finale, although exhilaratingly, and perhaps too hurriedly, delivered with deliciously proportioned exchanges and fully charged woodwind counterpoints (Nelsons has no shrinking violets in his orchestral accompaniments), allowed little breathing space for light-hearted froth.
In years to come Nelsons’ first and second performances of Stravinsky’s revolutionary masterwork will no doubt go down in the CBSO annals as defining moments of his conducting career – and I’ll be very surprised if Orfeo’s recording doesn’t provide a new benchmark of excellence.
Yes, there was much primeval pounding and snarling in this Rite but also many erotically charged passages of perfumed orientalism and sensuality. And, such was the power and beauty of the playing it induced at the end a sense more of glorious fulfilment than merciful release – perfect in every way.
