Haydn Symphony 104
Barbara Hannigan
Academy Chamber Orchestra
Duke’s Hall, Royal Academy of Music
Transitioning from internationally renowned soprano to respected orchestral conductor is an unusual musical journey. Barbara Hannigan is on record as saying that as a singer she is also an actor. And, standing in for indisposed Rachel Podger, she certainly found plenty of drama in Haydn’s final London symphony at this performance which must have been a roller coaster experience for the participating students.
Second violins on the outside and cellos next to the firsts meant that we heard plenty of colourful detail directed with flamboyant fluidity. Hannigan conducts by making expressive shape pictures with her beautiful hands rather than using a baton or doing anything as conventional as beating time, other than very occasionally. Her facial expressions are so eloquent that she is effectively acting the narrative of the music. This resulted in, for example, an exceptionally exciting development passage in the first movement. Hannigan loves Haydn and it came through in every bar.
There was plenty of tender insouciance in the adagio with a beautiful bassoon solo along with those alternating heavy statements. The decorated variation was lovely too because we really heard the second violins weaving round the texture and that can easily get lost.
The minuet and trio movement was enjoyably lively and Hannigan took the finale at a pretty nippy tempo. Her emphasis on the colourful swoops and quasi glissandi wouldn’t be to everyone’s taste but for a Friday lunchtime concert it felt pleasantly fresh. And the flute decoration was outstanding.
