Hannu Lintu stirs emotions with Haydn and Strauss at Barbican

In a recent concert held at the Barbican in London, the BBC Symphony Orchestra and Chorus showcased their vibrant performance of Haydn’s Mass in D minor, also known as the Nelson Mass, under the direction of Finnish conductor Hannu Lintu. This composition, significant in Haydn's repertoire, has a reputation for being challenging to program and perform effectively despite its emotional depth and grand orchestration. The concert featured the first half dedicated to this choral work, wherein the orchestra and chorus delivered a lively and confident interpretation, celebrating the masterful composition as it deserves. However, the concert’s structure proved controversial, as the second half was exclusively devoted to Richard Strauss’s monumental tone poem Ein Heldenleben. This piece, known for its grand scale and sonic fireworks, presented a stark contrast to the more intimate nature of Haydn’s work. Lintu’s orchestral conducting was described as vigorous, almost bordering on the physical, with movements so forceful it seemed he might injure himself in the fervor of the performance. Strauss's complex orchestral textures, requiring double and even triple sections of instruments like horns, were executed with precision, showcasing the orchestra's capabilities. The juxtaposition of Haydn and Strauss during the concert sparked conversations about programming choices in classical music. Many in attendance highlighted the challenge of balancing the emotional weight of Haydn’s sacred music with the overwhelming intensity of Strauss’s narrative-driven composition. While both pieces are significant in their own right, the progression from one to the other raised questions about how best to present classical works that elicit vastly different emotional responses from audiences. It highlighted the need for thoughtful curation in orchestral programming. Ultimately, the concert was a testament to the talents of the BBC Symphony Orchestra and the ambitious nature of its conductor. Lintu’s interpretation of both works brought to life the rich emotional landscapes they encompass, even as the stark contrasts between the two compositions underscored the varying demands and expectations of classical music concertgoers. The success and energetic response to the concert point towards a growing interest in how contemporary orchestras navigate the complexities of repertoire selection, particularly as they seek to engage diverse audiences with both traditional and modern works.