Lim’s Schumann concerto was magical. Spano’s Brahms First Symphony wasn’t.
With first movement tempos contrasted more than usual, Lim’s conception of the Schumann concerto wasn’t necessarily mine. But his highly personal and deeply felt relationship with the piece absolutely won me over. He certainly underlined contrasting personalities the composer identified in himself: the impetuous Florestan, the dreamy Eusebius.Dreamy episodes drifted off into worlds of magic, all tender touches and subtle pastels.
So highly personalized, so seemingly spontaneous, an interpretation would have challenged any conductor and orchestra. But aside from an occasional slip in coordination, which may well fix itself in subsequent performances, Spano and the FWSO did themselves proud, with a fresh, sensitively nuanced collaboration.
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