Soloists, Chorus, and Choir Shine in Mahler’s ‘Ode to Nature’

By Eileen Wingard

SAN DIEGO — Mahler’s Third Symphony, An Ode to Nature, opened with a cloudburst of sound as eight horns intoned the opening theme in faultless unison. This longest of symphonies,100 minutes in duration, with six movements, never lost momentum under the energetic conducting of the San Diego Symphony Orchestra’s Music Director, Rafael Payare. The stage was crowded with the enlarged orchestra required for Mahler’s elaborate score.

The solo trombone, played by Kyle Comvington, convincingly performed the impassioned second theme.  The development section was characterized by a turbulent march with contrasting dynamics reflecting the  awakening of Nature.  The opening horn theme returned for the recapitulation as the exciting movement drew to its climactic close.

The second movement was a welcome contrast, a delicate Minuet, opening with a graceful oboe theme, played by Sarah Skuster. A set of variations followed.

The third movement was a Scherzo. Its jovial mood was interrupted by an offstage trumpet call, effectively played by principal trumpet, Christopher Smith.

Before the fourth movement, Scottish Mezzo-soprano soloist Karen Cargill came on stage and the women of the San Diego Symphony Orchestra Chorus, and the San Diego Children’s Choir entered the balcony overlooking the orchestra.

The fourth movement was highlighted by Cargill’s crystal-clear voice whose pure tones floated to my seat in the upper mezzanine. The text was drawn from Nietzsche’s Also Sprach Zarathustra and is about mankind’s longing for redemption. Concertmaster Jeff Thayer performed several shimmering solo passages that entwined with the mezzo soprano line.

The fifth movement opened with the bell-like sounds of the San Diego Children’s Choir singing “Bimm! Bamm!” echoing morning bells. I wonder if Mahler was remembering some Hasidic tunes from his childhood, which often used the wordless vocals, “Bim, Bam.” Cargill and the women’s voices were featured in this cheerful movement along with the Children’s Choir.

The final movement was an Adagio, opening with the strings. Its slow peaceful pace concluded the symphony, whose final forte passages were punctuated by the beats of eight timpani drums.

The sold-out house rose to its feet as bows were taken and Maestro Payare recognized all the soloists and sections of his virtuoso San Diego Symphony Orchestra in its final concert of the 2024-25 season, a season dedicated to the memory of Joan Jacobs, whose generous patronage, with her husband, Irwin Jacobs, made possible the remarkable renovation of the concert hall.

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Eileen Wingard, a retired violinist with the San Diego Symphony Orchestra, is a freelance writer specializing in coverage of the arts.