Classical review: Scottish Chamber Orchestra

Published on Friday 26 March 2010 20:52

SCOTTISH CHAMBER ORCHESTRA QUEEN'S HALL, EDINBURGH * * * *

WHENEVER Olari Elts conducts the Scottish Chamber Orchestra he elicits a ravishing, full-bodied sound that appears much bigger than the sum of its parts. This was certainly evident in Weber's overture, Der Freischutz, which luxuriates in rich string textures and mellow brass, particularly the horns. All the dramatic content of the opera was neatly encapsulated in this spirited performance.

Weber's romantic opera was a huge influence on the young Wagner, who became a master of sumptuous orchestral textures. However, the Wesendonck Lieder is one of the few examples of Wagner writing for more intimate forces, that of voice and piano. He only orchestrated the last of the five songs, Traume (Dreams), and although conductor Felix Motti completed the rest at the time, this version for chamber orchestra was written in 1976 by Hans Werner Henze.

Mezzo-soprano Karen Cargill delivered an expressive interpretation of these poignant songs but was having to push her voice to be heard above the often excessively lush orchestration. The most effective passages were those where the accompaniment was pared down to a solo cello or viola, as in the exquisite In the Conservatory. Thematic material from this song and Traume were later developed by Wagner in Tristan and Isolde.

When Schumann wrote his Symphony No 1 in B-flat (Spring) he wanted to capture the season in all its hope and promise and the SCO's dynamic performance of this joyous work certainly zinged with a newly minted freshness.