The job well done by Josep Pons

The audience rose to their feet, cheering Josep Pons' last performance as musical director of the Gran Teatre del Liceu. The work chosen for the occasion could not have been more fitting, as a statement of principles: the last symphony Mahler would premiere in his lifetime, the Eighth (he still lacked the profound restraint of the Ninth, premiered posthumously), popularly known as the Symphony of a Thousand, and which is a song of optimism and a return to the natural through Faustian beauty. We could argue whether it is truly a symphony or a cantata. It doesn't matter, because Mahler's genius is displayed at length and breadth in a score that sometimes borders on excess, but which never leaves one indifferent.

Over the course of fourteen years leading the Liceu Orchestra, Pons has worked thoroughly with an ensemble that has a solid body and its own identity and mark. Not everything has been perfect, but the performance and the work (well) done are noticeable, and in what a way. The proof is that Mahler's Eighth, which is one of the 8,000 of this Himalayas that is the history of symphonic-choral music, has been achieved by reaching the summit with good base camps.Now, Pons has counted on forces he knows well and that for him have a special significance: to the same orchestra and the Liceu choir, the Polifònica de Puig-Reig, the National Choir of Spain and the Vivaldi-Petits Cantors de Catalunya Choir have been added.Situated very (too) far back on the stage, the choral presence did not always have the necessary balance in relation to the immense orchestra. And the truth is that the 350 people who populated the Liceu stage did not have it easy. But Pons, even though he got through it with flying colors, neither. Powerful brass, balanced woodwinds, and blended strings characterized the orchestra's sonic richness in service of the score, with certainly brilliant moments and contained emotion, never outlandish. Because Pons is not a man who gets carried away by the gratuity of certain resources and always keeps the card of restraint, even though he is generous in sonic expansions.

Mahler's piece also calls for top-notch soloists to tackle challenging passages and unforgiving ranges, such as that of the tenor. Michael Spyres once again proved he is an all-rounder. So did baritone Nicholas Brownlee, alongside an authoritative bass like Albert Dohmen, although he already shows the vocal wear and tear typical of advanced age.In the female chapter, Elisabeth Teige shone as Magna Peccatrix, despite a small accident in the final intervention. She was saved by the ever-efficient Jacquelyn Wagner. Mezzo who contraltos adhering to the purest Mahlerian style, the Scottish Beth Taylor was a forceful Samaritan alongside a also veteran Mihoko Fujimura, much applauded at the Liceu in various Wagnerian titles precisely conducted by Pons.A vocal ensemble, therefore, part of which had worked with the Berguedà director in previous seasons and which always left a good taste. Like this Eighth, which certifies fourteen years of well-spent work.