Category: Reviews

Above: cellist Alisa Weilerstein

Author: Ben Weaver

Friday July 29th, 2022 – Elgar’s Cello Concerto and Mahler’ Fifth Symphony made up the very ambitious program by the National Youth Orchestra of the United States of America at Carnegie Hall. The young American musicians – aged 16 to 19 – are embarking on a world tour with these works and will perform at the Concertgebouw in Amsterdam, as well as in Berlin, Ravello, and Lucerne in the upcoming weeks. Leading the orchestra in all these concerts is the British conductor Daniel Harding, with American cellist Alisa Weilerstein the soloist in the Elgar.

Elgar’s Cello Concerto, composed in 1919, was mildly popular before Jacqueline du Pré gave it immortality with Sir John Barbirolli in the 1960s. There are few mainstream works as identified with one performer as Elgar’s concerto is with du Pré. For any cellist to take on this work must be intimidating. Alisa Weilerstein is a cellist who needs not fear anything from comparison. A consummate artist of genuine depth, gravitas, and beauty, Ms. Weilerstein’s performance glowed with humanity and grace. From the first passionate notes of the work – no orchestral introduction here – Elgar’s  writing for the cello is intricate and deeply emotional. Even the Scherzo has little frivolity. Ms. Weilerstein’s warm and powerful playing, the rich sound of her cello effortlessly filling the hall, was a true joy. Elgar’s ability to compose for a large orchestra, yet keep the orchestration translucent so it never buries the solo instrument, is perhaps rather unique among cello concertos. And Maestro Harding also kept the young players of the orchestra at bay, letting loose when necessary, but allowing Ms. Weilerstein to always be heard. Everything in this performance was perfectly balanced. An all-around marvelous performance of a very special work.

With Mahler’s Fifth Symphony things got a bit more complicated. Maestro Harding (above) is an excellent Mahlerian, having began his career as an assistant first to Simon Rattle in Birmingham and then to Claudio Abbado in Berlin. And his decision to include such a difficult work for a young orchestra was certainly brave, but it did not pay off on this evening. There’s no need to mention any specific mistakes made by specific musicians – I’ve heard the same mistakes made by professional and very experienced musicians of the New York Philharmonic. And there were many wonderful moments too: the horns were warm and fruity, the concertmaster’s solo was lovely, the percussion section was on peak form (I especially enjoyed the grin on the face of one of the percussionists every time he played something loud – his enthusiasm and joy were wonderful, charming, and infectious.) But the totality of the work just did not come together. There were wonderful moments scattered throughout. Perhaps it was Maestro Harding who failed to bring it all together. Perhaps the orchestra’s future performances, as they face more audiences and play the work more, will come together. But, with its faults, I’m glad these young musicians played Mahler. They are the future members of our great American orchestras.

~ Ben Weaver