Saariaho
Lumière et pesanteur (first performance at the Proms)
Mahler
Rückert-Lieder
Symphony No 4 in G major
Proms Concert radio broadcast from the Royal Albert Hall, London
Joyce DiDonato mezzo-soprano
The Met Orchestra
Yannick Nézet-Séguin
Reviewed by: Rob Pennock
Reviewed: 27 August, 2026
Venue: Royal Albert Hall, London
This, the second of the orchestra’s Proms appearances, started with Kaija Saariaho’s Lumière et pesanteur (Light and Gravity) that was adapted from her oratorio La Passion de Simone. Lasting less than ten minutes and opening with an evocative trumpet solo, it might be called, in the best possible sense, mood music, with shimmering, evocative soundscapes, which, unlike so many others, the composer knew when to end.
The first song of the Ruckert Lieder, Blicke mir nicht in die liebe flowed jauntily by. Ich atmet’ einen linden duft was suitably introspective. However the E on Hand was initially sour, there were other occasions when the intonation was very slightly awry and the line in Liebst du um schonheit third was disjointed. In Um mitternacht, as throughout the cycle there was some beautiful woodwind playing but DiDonato didn’t seem inside the music, the climax didn’t feel meant. Nevertheless, Ich bin der welt abhanden gekommen was beautifully realised. DiDonato only took up these songs recently and there were elements of work in progress here.
After the interval we had what used to be Mahler’s most popular symphony. Here the first subject was forward moving with characterful strings and the accelerando before the second theme was convincing as was the liquid phrasing of the theme and the chattering woodwind before the return of the opening, were well characterised. The extended rallentando prior to the development beautifully handled.
In the development there was delightful clarity, crisp rhythms and woodwind that sounded rather more European than American. Indeed, throughout both of their concerts one was reminded of the Boston Symphony under Munch. Some conductors smile more in this music, but Nezet-Seguin’s more serious approach was entirely valid and the movement flowed effortlessly by, with echoes of the opening movement of the Pastoral.
Nezet-Seguin was in no hurry in the ‘Death strikes up’ Scherzo where the first violin is tuned up a whole tone. To compensate for this even more rhythmic attack might not have gone amiss. But the phrasing in the Landler like Trio was very Romantic and even more so when it returned. The serene move to D major was achieved without any slowing and as in the first movement one was aware of Nezet-Seguin’s serious approach to this music.
Thankfully lasting twenty-two minutes the sublime Adagio was very slow, which enabled the theme to breathe, the ostinato bass to register fully. This huge melody lasts several minutes, and each change of character was fully realised with minimal tempo changes. The first variation was faster, but unlike so many performances, unhurried, as the variations progressed one noted the prominent, crisp timpani, sumptuous string tone and perfectly judged accelerando.
When the horns end the accelerando the music dies away to a moment of absolute peace. Here Barbirolli and Previn sank to pppp, Nezet-Seguin only ppp, but given the broadcasts balance and limited dynamic range it may have sounded different in the hall, although there was an unfortunate horn fluff. The Des Knaben Wunderhorn outburst however, with massive timpani, was superb, the coda serene.
The concluding child’s view of heaven is normally sung by a soprano, but DiDonato, who was seated at the rear of the orchestra, has an extended top so the part caused her no problem. The opening tempo was again relaxed, the accelerando for the second half of the verse, suitably ebullient and from then on every change of mood was perfectly captured, including the beautiful flute and violin led melody that returns to the start.
The encore was Urlicht, which was too fast and often too loud.
Read Nick Breckonfield’s review here: https://www.classicalsource.com/prom/bbc-proms-2026-the-met-orchestra-plays-mahler-with-yannick-nezet-seguin/