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Toronto Symphony Orchestra. Anna Clyne: Inside Her Arms. Prokofiev: Piano Concerto No. 3. Shostakovich: Symphony No. 10. Isata Kanneh-Mason, piano. Ryan Bancroft, conductor. Roy Thomson Corridor on March 22, 2024. Repeated March 23 (8 p.m.) and 24 (3 p.m.).
Controversy surrounds Shostakovich’s Symphony No. 10, and the extent to which it displays the autobiographical impulses of the composer. The Toronto Symphony Orchestra couldn’t settle the matter Friday in Roy Thomson Corridor, however did make a powerful case for the colors and contrasts of the virtually hour-long rating beneath the course of a gifted conductor.
That customer, Ryan Bancroft, a 35-year-old American, is just not well-known on this facet of the Atlantic however is making strides in Europe. One can see and listen to why. His fashion, sans baton, is obvious and fluid, and harnessed to a radical understanding of the music at hand.
Nothing was ill-considered or misplaced. The primary motion moved easily from hypnotic calm to a terrifying climax and again. The second — by one disputed account, a portrait of the lately deceased Stalin — was filled with virtuoso frenzy, however under no circumstances coarse or extreme.
The ambling Allegretto burst effortlessly right into a waltz. Paradoxically? As within the finale, which begins in sepulchral darkness and concludes with cinematic sunshine, we can not know for positive. Ambiguity is on the coronary heart of the Shostakovich expertise.
As is the resourceful use of the orchestra. Wind solos had been very good. Maybe we will award first-among-equals honours to the horn, so alluring in each open and muted mode. String intonation was impeccable. Better of all, the elements had been balanced, even at fortissimo, to create a cohesive complete. The brand new TSO hires are figuring out properly.
Many had been a part of the 15-piece string ensemble that began the live performance with Inside Her Arms, a 15-minute tribute by the British composer Anna Clyne to her late mom (written shortly, in keeping with Bancroft, who gave a spoken introduction). Freeform and bittersweet moderately than structured and tragic, the music was constructed of delicately interlocking figures and set largely within the pianissimo-to-mezzo-piano vary. Taking part in was beautiful. The TSO may profitably add chamber orchestra works to its programming.
This program, nonetheless, was titled “Prokofiev’s Piano” in recognition of the composer’s Piano Concerto No. 3, and soloist Isata Kanneh-Mason, 27, a member of the prodigal British clan (and sister to cellist Sheku Kanneh-Mason, who made an important impression with the TSO final season in Elgar).
Isata is lower from the identical fabric. Her fashion is burnished, intimate and private. Tempos had been broader than typical. For as soon as the main target on this competitors staple was on inside values moderately than exterior flash. Not that the latter was lacking, particularly within the finale. However, this was very a lot an built-in efficiency with a giant, vibrant orchestra.
The viewers stood and cheered. That they had a proper to count on one thing extra substantial as an encore than Percy Grainger’s association of Gershwin’s “The Man I Love.” All the identical, together with her mixture of naturally modest stage deportment and glamour — the sequined robe was, because the British prefer to say, smashing — Kanneh-Mason is an artist we hope to listen to once more.
That goes double for Bancroft, who was truly paying his second go to to the TSO podium, having made his debut in 2022. Famous for up to date music, he gives the look of a maestro who will be trusted with absolutely anything.
The corridor was not full on this snowy night but it surely was good to see the choir loft amply populated. The costume code on stage was oddly diverse, some musicians in white shirts with jacket and tie, others in black shirts with an open collar. Wardrobe ought to replicate the musical unity of the ensemble. I say choose a mode and run with it.
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Arthur Kaptainis was classical music critic of the Montreal Gazette from 1986 to 2022 and wrote for the Nationwide Publish from 2010 to 2016. His articles seem in Classical Voice North America and Gramophone in addition to Ludwig Van. Arthur holds an MA in musicology from the College of Toronto. He’s president of the Music Critics Affiliation of North America.
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