MUSIC REVIEW : New World Symphony in Mahler Cantata

Under the leadership of Michael Tilson Thomas, the New World Music Festival in Orange County has championed the young Mahler.

On the opening program of the festival, June 27, Tilson Thomas and friends offered the Piano Quartet, and Tuesday evening at Segerstrom Hall Tilson Thomas led the New World Symphony, the California Wind Orchestra and a host of vocalists in “Das Klagende Lied.”

Using a story from the Grimm brothers of a fratricidal competition for a bride, Mahler wrote his own text. His diffuse, coloristic setting, however, belies the folk-like simplicity of his words.

Most problematic is the sing-a-line-and-sit vocal writing, with no element in the narrative consistently identified with a single voice or chorus. The effect is almost as though Mahler wanted to write a tone poem but didn’t quite trust sound alone to convey his meaning.

Mezzo Janice Taylor had the most extended opportunities, on which she capitalized with fine dramatic point and a dark, husky voice. Soprano Faye Robinson floated lovely sustained lines when given the chance, though she tended to slide up to her higher notes. Tenor Gary Lakes contributed some clarion outbursts, and a gently wondering penultimate question.

Though the fervid, seize-the-moment orchestration contributes to the fractured feeling, the young musicians of the orchestra played handsomely, with brilliance, power and an unexpected measure of grace in the gentler moments, some violin misintonation notwithstanding.

That their efforts did not seem aimed beyond the immediate narrative/dramatic issue may have been as much the fault of the composer as of the conductor.

The California Wind Orchestra furnished the raucous offstage party music, sounding oddly filtered in the hall. The William Hall Chorale and the Master Chorale of Orange County sang almost incidental bits with splendid strength and spirit.

A ripe, rich account of Beethoven’s Fifth Symphony followed intermission. Some balance problems cropped up, particularly disappearing bass lines, but the performance generally had uncommon detail and convincing direction. Tilson Thomas’ tempos sounded more relaxed than they really were, thanks to the assured playing of his accomplished charges.

Tilson Thomas added a bright, brisk reading of the Act III Introduction to “Lohengrin” to open the program, which clearly displayed Mahler’s early indebtedness to Wagner, as well as the controlled muscle of the New World Symphony.