Klaus Mäkelä Debuts with Chicago Symphony, Showcases Berlioz Masterworks

The Chicago Symphony Orchestra (CSO) marked a significant moment in its season with a concert featuring the works of Hector Berlioz, led by the orchestra’s music director designate, Klaus Mäkelä. This performance, held on October 19, 2023, showcased the renowned Symphonie fantastique, Op. 14, alongside “Harold in Italy,” Op. 16. The evening served not only as an introduction to Mäkelä’s style but also as an assessment of the orchestra’s readiness for the challenges of the upcoming season.

Mäkelä, at just 29 years old, is poised to take on the full directorship of the CSO in September 2027. The enthusiasm among the musicians, who played a crucial role in his selection, was evident in their performance. The absence of shorter opening pieces allowed for a focused presentation of two expansive works, each exploring complex themes and showcasing the orchestra’s capabilities.

In a notable pairing, Mäkelä juxtaposed the two Berlioz compositions, revealing a thematic connection between them. Both pieces highlight Berlioz’s innovative approach to orchestration and storytelling. The audience experienced a journey through contrasting moods and emotions, which culminated in sustained applause and cheers after each selection.

Berlioz, known for his willingness to defy conventions, structured the Symphonie fantastique with five movements instead of the traditional four. “Harold in Italy,” inspired by Lord Byron’s narrative poem “Childe Harold’s Pilgrimage,” captured the wandering spirit of its titular character. This work features a solo viola that plays a pivotal role, rather than adhering strictly to the concerto format.

The first movement, subtitled “Melancholy, Happiness, and Joy,” was particularly poignant, with Mäkelä and the CSO delivering a vibrant interpretation. Antoine Tamestit, a distinguished viola soloist, made a notable return to the CSO stage. His performance was characterized by a lively sound and a rich interpretative style. In a creative touch, Tamestit entered from the back of the orchestra, adding a theatrical element that enhanced the storytelling aspect of the piece.

Following a lengthy ovation, Tamestit offered an encore, a dynamic rendition of the Prelude from J.S. Bach’s Cello Suite No. 1 in G Major, BWV 1007. This performance underscored his exceptional skill and familiarity with the CSO audience.

Mäkelä’s approach to conducting was marked by his decision to conduct from memory, which allowed him to engage more fully with the musicians. This physical connection translated into a dynamic performance that highlighted the orchestra’s strengths. The evening revealed a fresh energy within the ensemble, suggesting a promising future under Mäkelä’s leadership.

Berlioz’s imaginative orchestrations were on full display, particularly in moments such as the intimate duet between Tamestit and guest harpist Emily Levin. The collaboration between the viola and harp in the first movement of “Harold in Italy” was strikingly effective. The concert also featured a remarkable moment during the Symphonie fantastique, where four percussionists played on eight timpani, demonstrating the orchestra’s technical prowess.

The brass section, led by new principal trombonist Timothy Higgins and returning principal trumpeter Esteban Batallán, delivered an impressive performance. Notable solo contributions came from English hornist Scott Hostetler and guest flutist Herman van Kogelenberg of the Munich Philharmonic, whose warm sound resonated throughout the evening.

Overall, the concert offered a glimpse into the potential of the CSO under Mäkelä’s direction. The combination of ambitious programming, remarkable talent, and an engaged audience set a promising tone for the upcoming season and the orchestra’s future endeavors.