Concert Review: MAHLER’S SEVENTH SYMPHONY (Gustavo Dudamel with the LA Phil)

SEVENTH HEAVEN

Nothing prepares you for the sheer spectacle of Mahler’s Seventh Symphony live. A staggering number of musicians packed the Walt Disney Concert Hall stage Saturday afternoon March 1—extra brass, two harps, tuba, and an enormous array of percussion, including cowbells which rang from the rafters—Mahler’s version of “more is more.” And at the center of it all? Gustavo Dudamel, shaping this colossal work with total command.

Dudamel’s decision to conduct the LA Phil without a score was a testament to his deep connection with the piece. This approach allowed him to engage more directly with the orchestra, facilitating a dynamic interplay that brought out the symphony’s intricate details. His gestures were fluid yet authoritative, guiding the musicians through the work’s complex transitions and diverse moods.

One of the most remarkable aspects of this performance was the orchestra’s ability to maintain cohesion amidst the symphony’s sprawling architecture. Each section contributed to the overarching narrative, ensuring that the transitions between contrasting moods felt organic. The strings provided lush harmonies, the woodwinds offered poignant solos, and the brass delivered heroic statements.

The symphony’s opening movement unfolded with a sense of mystery, characterized by its extremely unconventional structure and evolving themes. The musicians navigated the shifting tempos and tonalities with finesse, capturing the essence of Mahler’s exploration of the human experience. The “Nachtmusik” movements, framing the central Scherzo, were rendered with a delicate balance of eeriness and warmth, reflecting the nocturnal inspirations behind these sections. The use of guitar and mandolin added an unexpected timbral color, enhancing the serenade-like quality of these movements.

As for the shadowy Scherzo, it teetered on the edge of madness. It’s a study in contrasts, oscillating between shadowy figures and whimsical dances. The articulation was crisp, and the dynamic shifts were executed with precision. The finale burst forth with exuberance, its triumphant themes soaring as the brass and percussion sections delivered with power, and the fanfares rang out like golden fireworks.

The LA Phil delivered a sensational performance, but special praise goes to the thunderous bass section, which grounded the wild shifts in mood, and the astounding steadfast rhythm of the percussion, led by timpanist Joseph Pereira, who seemed to sculpt the music out of pure force (he also got the biggest applause when players were acknowledged by the conductor).

Mahler’s Seventh is a strange beast—melodies that slip through your fingers, buildups that refuse to resolve—but that’s what makes it thrilling. Under Dudamel, it all felt inevitable, like a fever dream that grips you and won’t let go. The packed house knew it too, erupting in a roaring ovation.

This is the only way to experience Mahler: live, loud, and larger than life.

photographs taken by Elizabeth Asher​​​ at the Walt Disney Concert Hall,
provided courtesy of the Los Angeles Philharmonic Association