Toronto Symphony Orchestra. Anna Clyne: Within Her Arms. Prokofiev: Piano Concerto No. 3. Shostakovich: Symphony No. 10. Isata Kanneh-Mason, piano. Ryan Bancroft, conductor. Roy Thomson Hall on March 22, 2024. Repeated March 23 (8 p.m.) and 24 (3 p.m.).
Controversy surrounds Shostakovich’s Symphony No. 10, and the extent to which it reflects the autobiographical impulses of the composer. The Toronto Symphony Orchestra could not settle the matter Friday in Roy Thomson Hall, but did make a strong case for the colours and contrasts of the almost hour-long score under the direction of a gifted conductor.
That visitor, Ryan Bancroft, a 35-year-old American, is not well known on this side of the Atlantic but is making strides in Europe. One can see and hear why. His style, sans baton, is clear and fluid, and harnessed to a thorough understanding of the music at hand.
Nothing was ill-considered or out of place. The first movement moved smoothly from hypnotic calm to a terrifying climax and back. The second — by one disputed account, a portrait of the recently deceased Stalin — was full of virtuoso frenzy, but in no way coarse or excessive.
The ambling Allegretto burst effortlessly into a waltz. Ironically? As in the finale, which starts in sepulchral darkness and concludes with cinematic sunshine, we cannot know for sure. Ambiguity is at the heart of the Shostakovich experience.
As is the resourceful use of the orchestra. Wind solos were superb. Perhaps we can award first-among-equals honours to the horn, so alluring in both open and muted mode. String intonation was impeccable. Best of all, the parts were balanced, even at fortissimo, to create a cohesive whole. The new TSO hires are working out well.
Many were part of the 15-piece string ensemble that started the concert with Within Her Arms, a 15-minute tribute by the British composer Anna Clyne to her late mother (written quickly, according to Bancroft, who gave a spoken introduction). Freeform and bittersweet rather than structured and tragic, the music was built of delicately interlocking figures and set largely in the pianissimo-to-mezzo-piano range. Playing was exquisite. The TSO could profitably add chamber orchestra works to its programming.
This program, however, was titled “Prokofiev’s Piano” in recognition of the composer’s Piano Concerto No. 3, and soloist Isata Kanneh-Mason, 27, a member of the prodigal British clan (and sister to cellist Sheku Kanneh-Mason, who made a great impression with the TSO last season in Elgar).
Isata is cut from the same cloth. Her style is burnished, intimate and personal. Tempos were broader than usual. For once the focus in this competition staple was on interior values rather than external flash. Not that the latter was missing, especially in the finale. But, this was very much an integrated performance with a big, colourful orchestra.
The audience stood and cheered. They had a right to expect something more substantial as an encore than Percy Grainger’s arrangement of Gershwin’s “The Man I Love.” All the same, with her mix of naturally modest stage deportment and glamour — the sequined gown was, as the British like to say, smashing — Kanneh-Mason is an artist we hope to hear again.
That goes double for Bancroft, who was actually paying his second visit to the TSO podium, having made his debut in 2022. Noted for contemporary music, he gives the impression of a maestro who can be trusted with just about anything.
The hall was not full on this snowy evening but it was good to see the choir loft amply populated. The dress code on stage was oddly varied, some musicians in white shirts with jacket and tie, others in black shirts with an open collar. Wardrobe should reflect the musical unity of the ensemble. I say pick a style and run with it.
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