Pappano's masterclass leaves Elgar's concerto feeling toothless

In a concert held by the London Symphony Orchestra (LSO) on December 15, 2024, Antonio Pappano conducted a powerful rendition of Ralph Vaughan Williams's final symphony, completed in 1958, shortly before the composer’s death. This performance was noted for its dynamic intensity, contrasting sharply with the more traditional and subdued nature of earlier works by Vaughan Williams. The first movement featured a series of cymbal crashes and intricate solos from various instruments, including the violin and flugelhorn, depicting a stark, postwar atmosphere. This was indicative of the symphony's departure from the lush pastoral sounds of Vaughan Williams's earlier music that many of his fans are accustomed to, establishing a raw, visceral tone throughout the performance. Under Pappano's baton, the LSO showcased remarkable control and finesse, creating a profound connection with the audience. The conductor’s ability to hold back during the softer passages allowed for a striking build-up to climactic sections, notably in the second movement which culminated in silence so profound that it left the audience momentarily breathless. Even the vibrant Scherzo, often characterized by lively rhythms, carried an undercurrent of tension reminiscent of Shostakovich's influential style. The LSO's powerful rendition of this symphony not only celebrated Vaughan Williams’s intricacies but also provided insight into the composer’s mindset during the tumultuous postwar landscape. Following this challenging and gripping first half, the program included Edward Elgar’s Cello Concerto in the second half, a work typically celebrated for its emotional depth and poignancy. David Cohen, the LSO's principal cellist, was featured as a soloist; however, the impact of Vaughan Williams's earlier symphonic brutality led to a perception of the Elgar work as 'toothless' in comparison. Within this context, Cohen's performance gently blended with the orchestral sounds but struggled to emerge as a distinct voice in the wake of the formidable prior performance. The evening concluded with Arnold Bax’s Tintagel, another orchestral piece that received praise for its vivid orchestral palette. Pappano's interpretation maintained a consistently high energy level, culminating in a powerful finish that resonated with the audience. Overall, the concert was well-attended, partly due to Elgar’s enduring popularity; however, the success of Vaughan Williams's symphony performance was marked by its emotional range and complex execution, contrasting sharply against more conventional classical works, reaffirming the challenges and distinct experiences brought forth by 20th-century compositions.