THERE could be no more fitting location for Mahler’s enormous “Symphony of a Thousand” than the country’s largest cathedral – the performers, numbering nearer 500, tucked neatly within the nave and raising their voices to the very top of the sandstone arches .
A visual spect acle as much as a musical one, the Royal Liverpool Philharmonic Orchestra and Choir were joined by the Huddersfield Choral Society, Deva Singers, Choir of Holy Trinity Church, Southport, the choristers of both the city’s cathedrals and eight soloists to deliver the Austrian composer’s majestic two-part work.
Opening with a single chord from Liverpool Cathedral’s magnificent organ, the first part burst into life as the amassed choirs called for God’s divine grace in a bold yet frenzied evocation reminiscent of the obsessively devout.
The longer, second part turned to the final scene of Goethe’s epic tragedy Faust, in which angels bear the dead scholar to heaven and a trio of Biblical holy women plead for the salvation of his soul.
The extended overture began softly but grew in richness and determination, the choir almost whispering its description of the sacred woodland setting.
The soloists, though occasionally muffled by the orchestra, performed solidly and there was no way of guessing the last minute addition of soprano Claire Rutter, after Maria Borsi pulled out that very morning due to illness.
