City Halls, Glasgow
Popular Portuguese conductor Joana Carneiro, who directed this live broadcast season-opener by the BBC SSO – its first concert for a live audience in its home venue since March 12, 2020 – has no position with a UK orchestra. Might she take on this one, with its undeclared apparent vacancy in the top job with the continuing absence of chief conductor Thomas Dausgaard?
There is clearly a great rapport there already. Carneiro conducted a fine SSO concert of Sir James MacMillan’s music at the 2019 Edinburgh Festival and was in the pit for Scottish Opera’s production of Nixon in China, some of the players from which joined guests from the RSNO in this BBC Scottish line-up.
It was luxury casting indeed to have Carneiro joined by violinist Pekka Kuusisto for what was a clever celebration of the music of his native Finland to launch the orchestra’s return. Starting with a blast of Bach from a brass quartet, a very carefully-constructed programme featured the music of contemporary composer Magnus Lindberg and culminated in the last symphony of Sibelius. The brass was a continuing punctuating feature of the evening, whether in the choir stalls above the orchestra or offstage for Beethoven’s Leonora No.3, but it was leader Laura Samuel’s strings who were the sectional heroes of the day, from their combative then seductive dialogue with Kuusisto’s solo voice in Lingdberg’s First Violin Concerto through to the striking unison ensemble in the Symphony No. 7 of Jean Sibelius.
The Bach chorale that opened the concert began a sequence that ran through Lindberg’s arrangement of that material for full orchestra in his 2001 Chorale to his three-movement concerto, also scored for a very compact string section of 25 players. Early on they swamp the soloist just the same, until an accommodation is reached and Kuusisto was heard giving full expression to a fiery cadenza.
There are echoes of Sibelius in both the blossoming to resolution of Lindberg’s Chorale and the finale movement of the concerto, and the choice of the Beethoven to open the second half (after an actual interval, albeit with no bars open) also spoke of influences, even if the storm in the overture is perhaps more clearly heard in the Finnish composer’s final orchestral work, Tapiola.
Self-evident through all this cross-referencing cleverness was that this supremely versatile orchestra had a conductor of equal range on the podium. She may not be quite as animated as the SCO’s Maxim Emelyanychev, but Carneiro is a very physical conductor with a vast vocabulary of eloquent arm and hand gestures that leave her intentions in little doubt and her tempo and dynamic instructions absolutely clear. It would be a fine thing indeed if the SSO was to sign her up.
Picture: Joana Carneiro (BBC/Alan Peebles)