On Saturday night the Tanglewood Koussevitsky Music Shed erupted with Mahler’s Eighth Symphony. Stepping up to the plate for this colossal work was the Tanglewood Music Center Orchestra and alumni under the baton of Andris Nelsons. The massive double chorus included the Tanglewood Festival Chorus, The Boston University Tanglewood Institute (BUTI) Chorus, and the American Boychoir. The soloists were sopranos Erin Wall, Christine Goerke, and Erin Morley as the Mater Gloriosa; Mihoko Fujimura and Jane Henshel as first and second altos, respectively; Klaus Florian Vogt, Matthias Goerne and Ain Anger.
Erin Wall was a powerful presence as the first soprano, nailing every one of her many high ‘C’s. It was fascinating watching her at the end of the first movement bend backwards, grab her music stand as if she was driving an 18-wheeler semi-trailer truck, and open her mouth like a lion to finish off on her C and proceeding B flat. Christine Goerke incorporated her dynamic vibrato to reach the top of her register and to achieve proper head resonance. Erin Morely was a beautiful Mater Gloriosa, floating on top of her line as she stood far above the stage in a nook near the ceiling of the stage right side. Mihoko Fujimura and Jane Henschel were fine Mulier Samaritanas and Maria Aegyptiacas, respectively. Klaus Florian Vogt sang the outrageous part of Doctor Marianus (Mahler hated tenors about as much as Strauss did), as if he was singing a Bach cantata. It was very delicate, light, and legato, unlike how many other heldentenors have sung it in the past. Matthias Goerne sang gorgeously, exhibiting his dark and rich tone for which he was praised in his Winterreise last season at Alice Tully Hall. Finally, Ain Anger sang the role of Pater Profondus with volume and intensity.
The chorus, unfortunately, did not sound as immense as I would have hoped. In this case that could have been at the hands of acoustics, however, there were several problems with blending throughout the night and several voices stuck out. There were also times when the chorus began separating from the orchestra and luckily found its way back. I also wish there could have been more intensity present in the second part, as the closing scene from Goethe’s Faust starts from nothing and grows throughout the duration of the movement. For an orchestra largely made up of students, I thought their playing was top notch. Their playing was hesitant at the beginning, but grew to be more comfortable by the end. The brass played out with confidence, with the exception of the trombones of which I would have loved to have heard more. The wind section did a terrific job taking on the terrifying beginning of the second part, playing in fifths and making entrances out of nowhere. They managed to balance very well with each other. The strings, like the chorus, had trouble blending, and the solos for the concertmaster could have had more emotion and warmth. I also missed the sensation of the hair on the back of my neck standing up when that first E flat chord comes crashing down on the keys of the organ.
Andris Nelsons conducted with such fluidity and agility. He brought out a lot of dynamic contrast and color as he flitted and floated on the podium.
Overall, a marvelous performance was given by all. Mahler 8 is a gargantuan work that takes quite a toll and effort from everyone involved. I missed the sensation of a shaking, crumbling concert hall as the piece came to a close, but I enjoyed it nonetheless.