VoxCarnyx

City Halls, Glasgow

Previous attempts by Norwegian conductor Tabita Berglund to debut with the BBC SSO were scuppered due to Covid-related issues. Last week in Glasgow and Perth, however, things finally came together and the rising star and former cellist directed a substantial crowd-pulling programme of Dvorak and Tchaikovsky, prefaced by a short opener by the mildly eccentric 20th century composer Geirr Tveitt as a kind of musical visiting card from their shared homeland.

Also from Norway was cellist Truls Mørk featuring as soloist in Dvorak’s Cello Concerto. For some reason, what should have been a significant highpoint in the programme never quite got off the ground. There was a cloud of disquiet pervading this performance, slow to assert itself, unsettled in tempi, with suspicions of panic in terms of aligning the orchestra with Mørk’s sometimes wayward intentions. Berglund seemed slow to anticipate, resulting in misfired coordination, and too often allowed the brass overwhelming free rein. Even where Mørk spun his signature magic, an air of tension hovered menacingly.

Best to discard that as a momentary glitch, for what surrounded the concerto revealed Berglund to be someone in full command of her thoughts and her ability to engage with the players. Tveitt’s gorgeous orchestral realisation of the Norwegian Hardanger folk tune Vélkomne med æra (a song to welcome guests at harvest time) cast an instant spell, its tranquil impressionism and rippling colours evoking a fireside warmth. Berglund caressed its gentle contours and fluid textures, drawing pulsating heat from the sumptuous SSO strings and reduced woodwind. 

She ended with Tchaikovsky’s Symphony No 5, presenting this symphonic warhorse as if the wrapping had been removed for the first time. It was remarkable for its lucidity, particularly the main thrust of the opening movement which was refreshingly light-footed but still robust in its message. The third movement Valse unfolded with effortless glee, and the finale never once succumbed to thick-set overindulgence. Here, the brass redeemed themselves with well-tempered precision. Only the slow movement lacked in melodic character, though effectively acknowledging the febrile mood shifts at its centre. 

The Dvorak aside, this was an impressive SSO debut for Berglund. There’s an honesty in her musicality – already witnessed in an earlier appearance with the RSNO – that points to an promising future. And going by the unending cheers that greeted her in Glasgow on Thursday, she already has a raucous Scottish fan club. They’ll want her back!

Ken Walton

Thursday’s Glasgow concert was broadcast live on BBC Radio 3 and is available for 30 days on BBC Sounds.