Saturday 28 June 2025
Bridgewater Hall, Manchester
For a review of the opening night of Manchester Classical, click here and for day two click here
RNCM Symphony Orchestra and Chorus – Gustav Mahler Symphony No. 2 ‘Resurrection’
Manchester has a long association with Mahler’s music. His Symphony No. 1 was performed in Manchester as long ago as 1913, conducted by Michael Balling, only two years after the composer’s death. Later, Sir John Barbirolli became a great advocate of Mahler with the Hallé, apparently spending nearly 50 hours rehearsing the Ninth Symphony. In 2010, there was an epic cycle of all his symphonies in the Mahler in Manchester series, celebrating the 150th anniversary of the composer’s birth. And one of the early concerts in the newly refurbished RNCM concert hall about a decade ago was a performance of Mahler’s Symphony No. 2, with RNCM forces so big that the chorus had to perform from the balcony above the audience.
Manchester continues to showcase Mahler. The most recent concerts of his symphonies I have heard in the last year are Symphony No. 5 (Sir Mark Elder’s last concert with the Hallé) and the BBC Philharmonic performing Symphony No. 3 and Symphony No. 9 . Mahler famously said, ‘a symphony must be like the world. It must contain everything’, so his Second Symphony, with a vast orchestra, choir and two female soloists, was an excellent way of ensuring that as many members of the RNCM as possible could pack the stage and the Choir seats. The Dutch conductor Antony Hermus gave an insightful analysis of the five movements of the symphony and ended by quoting a Dutch saying, ‘who has the youth has the future’, which certainly applied here.
Hermus was an undemonstrative conductor but very clear. He brought out the pacing in the first movement with a lovely, slow unfolding of its Wagnerian lines. The audience respected the short silence he requested at the end of the movement (Mahler asked for five minutes). The second movement began with a beautifully controlled Ländler, before a second, more anxious theme, teeming with intense life. It was lovely to see the smiles on the faces of the musicians as they gently plucked the returning Ländler theme. The Scherzo captured the movement’s uplifting joy, lightness, and sarcastic, almost outlandish spirit. After this, we headed without a break to the triumphant final movement. The mezzo-soprano Yvonne Howard, who studied at the RNCM and now teaches there, brought smooth legato lines, with clear diction and a calm stage presence. Scottish soprano Ellie Forrester, who is studying at the RNCM under Mary Plazas, sang with incredible, Wagnerian power, soaring majestically above the huge forces. The two singers were well-matched in their duet. The excellent RNCM Symphony Chorus began singing while seated, with a gorgeous sotto voce. Later, when they stood up, they showed that their voices could match those of the ENO Chorus (who we heard later in the festival) in operatic power and precision. The offstage brass parts brought an evocative depth to the sound. After a series of sensational climaxes from the orchestra, we reached the moment of resurrection. At the end, Hermus thanked the performers for their passion. There was a well-deserved standing ovation from the audience, and a cheer for each section as Hermus asked them to take a bow.
Riot Ensemble: Coral Formations
Riot Ensemble is an international collective of virtuoso musicians, with members and projects across the UK, Germany, Iceland, and beyond. It specialises in contemporary classical music and has given over 350 World and UK premieres by composers from more than 35 countries since 2012. The good news for Mancunian music lovers is that the Ensemble has chosen Manchester as their home base. This was the first concert to mark their new home. As they say on their website,
‘Why Manchester? Because the classical music scene here is simply electric: welcoming, ambitious, and fiercely creative.‘
Violinist and Co-Artistic Director Marie Schreer introduced the two works, both UK premieres. The first was Shrimp BIT Babyface by Alex Paxton, born and bred in Manchester. Schreer said it was a mix of ‘bonkers disco’ and folk music. It started with an eerie violin solo, then an explosion of free jazz cacophony, followed by a gentle electronic section, feeling its way towards a tune. A collection of alarming noises led to more free jazz, and a sound of a tape machine speeding up. There was sometimes a 1960s avant-garde vibe, like John Lennon’s Revolution 9 from The Beatles’ White Album (1968). There was a sudden pause, and the music tried to come together as if the score for a string quartet had been smudged while still wet, accompanied by bleeping electronics. Then there was a jolly folk tune. Followed by frenzied, contrapuntal gaming music. An unhinged disco section with heavy electronic percussion collapsed into utter chaos. All the while, Aaron Holloway-Nahum conducted with admirable resolution and precision. An invigorating performance of a fantastically unnerving and colourful piece, which brought joy and confusion in equal measure – a riotous explosion of euphoria.
The second, much shorter piece was Seafloor Dawn Chorus by the Norwegian composer Kristine Tjøgerse, who has worked with biologists researching at the Barrier Reef. Schreer explained that the fish have dawn and dusk choruses, although sadly, they are quieter now. The piece began with slow, contemplative electronics and evocative sound effects. Scraped cello strings, string harmonics and Whirly Tubes created the noises of undersea creatures. Analogue noises replaced the electronics of Paxton’s piece. It gradually gained momentum, then suddenly stopped. If this programme is typical of Riot Ensemble, we have much to look forward to.
BBC Philharmonic Orchestra: Gershwin, Bernstein and Strauss
The BBC Philharmonic has had a superb season. On Saturday evening, German conductor Anja Bihlmaier conducted them in a programme of Strauss, Gershwin and Bernstein, titled ‘Music from Beginnings and Endings’. The concert began with Richard Strauss’s tone poem, Death and Transfiguration, which Bihlmaier described as a natural successor to Mahler 2, with its themes of ‘passion, life, death, and life after death.’ Her conducting was calm at first, as warm strings played at a measured pace with the smooth, luxurious sound we have associated with the BBC Philharmonic Orchestra this season, with perfect ensemble. As the piece reached its first climax, Bihlmaier became more animated, expressive and communicative, dancing on the platform. She combined passion with precision, drawing out stunning detail in the orchestral parts. The orchestra responded superbly to her direction, and this was a compelling performance.
The concert continued in a jazzier style with George Gershwin’s Rhapsody in Blue for piano and orchestra. The soloist was the Japanese pianist and composer Hayato Sumino, whose playing was a revelation. He had a lovely touch, with an even tone and impressive weight in the lower register, but also brought out the jazzy elements of the score. At one point, he brought out a small keyboard and perched it on top of the piano, playing solos with his right hand with a clarinet-like sound that matched the famous opening clarinet solo. The orchestra was an able partner, with characterful solos and syncopation so joyful it was difficult to sit still. At the end, Sumino showed the more romantic side of his playing – it would be fascinating to hear him play a romantic piano concerto. He played delicately at the top of the piano, with fantastic speed and precision. Bihlmaier pulled the orchestra tempo back at the end for one final, ecstatic statement of the main theme, and Sumino received a well-deserved standing ovation and roars of ‘bravo.’
The concert ended with more jazz, this time a description of, in the conductor’s words, the very different style of Leonard Bernstein – the grooving vibes of ‘flashy New York’. She reminded us also that Bernstein’s Symphonic Dances from West Side Story are not just ‘nice’ to listen to, but also describe the fight between two gangs from different worlds; universal themes are brought to life by the kaleidoscopic colours of Latin American percussion and rhythms. Like a close-knit jazz band, the orchestra played the syncopated rhythms with style and grace. Bihlmaier swayed to the rhythms, and it was difficult for the audience not to sway with her. They did join in with an ecstatic chant of ‘Mambo’, which she turned round to conduct. The orchestra showed its versatility by playing the romantic melody at the end of the piece like a symphony orchestra performing a romantic symphony. There was another standing ovation, ending a joyful evening.
Anja Bihlmaier told Elizabeth Alker that she had performed at the first Manchester Classical festival in 2023, and that one of her hobbies was collecting t-shirts (worn by staff and volunteers) from the festival. She expressed the popular view that ‘Manchester is second only to London now’ for classical music. Many proud Mancunians – and others from outside the city – would agree.
Artists and repertoire
RNCM Symphony Orchestra: Mahler 2 ‘Resurrection’
Gustav Mahler Symphony No. 2 ‘Resurrection’
Antony Hermus conductor
Ellie Forrester soprano
Yvonne Howard mezzo-soprano
RNCM Symphony Chorus
RNCM Symphony Orchestra
Riot Ensemble: Coral Formations
Alex Paxton Shrimp BIT Babyface (UK premiere)
Kristine Tjøgersen Seafloor Dawn Chorus (UK premiere)
Riot Ensemble
Aaron Holloway-Nahum conductor
BBC Philharmonic Orchestra: Gershwin, Bernstein and Strauss
Strauss Death and Transfiguration
Gershwin Rhapsody in Blue
Bernstein Symphonic Dances from West Side Story
Anja Bihlmaier conductor
Hayato Sumino piano
