From Mahler to Manhattan – Fantasia Orchestra celebrates ten years in unforgettable style

Deborah Tarrant
4 days ago
3 min read

Historic stone church with clock tower framed by trees; people chat and stand on the steps outside. — The beautiful Smith Square Hall

Fantasia Orchestra's From Mahler to Manhattan at Smith Square Hall was much more than the final concert in the orchestra's inaugural residency. It was a celebration of everything that has made this remarkable ensemble one of the UK's most exciting orchestras over the past decade: imaginative programming, fearless musical curiosity and performances of exceptional quality.

Marking Fantasia's tenth anniversary year, the evening perfectly encapsulated the orchestra's artistic philosophy of bringing seemingly disparate musical worlds into conversation. As Artistic Director and conductor, Tom Fetherstonhaugh wrote in the programme notes, the aim was to place twentieth-century song "in all its glory", allowing the lush Romantic soundscapes of Gustav Mahler, Alma Mahler and Richard Strauss to sit naturally alongside the timeless melodies of Jerome Kern, George Gershwin, Cole Porter, Stephen Sondheim and Duke Ellington. It was an inspired concept, and one that worked exactly as intended.

Conductor leads orchestra with a female soloist onstage before tall red curtains in a concert hall — Fantasia Orchestra

From the opening bars of Duke Ellington's Take the "A" Train, it was immediately apparent that this would be a special evening. Fantasia Orchestra played with remarkable precision, warmth and style, effortlessly shifting between jazz-infused rhythms and sumptuous late-Romantic textures. The specially commissioned arrangements by Harry Baker provided seamless transitions between genres while allowing the orchestra's rich sound to shine.

Irish mezzo-soprano Niamh O'Sullivan was outstanding throughout. Possessing a wonderfully warm, expressive voice and remarkable stylistic versatility, she moved effortlessly between Broadway classics and German Lieder, exactly as Fetherstonhaugh had promised in his introduction. Whether delivering the intimacy of Gershwin's Someone to Watch Over Me, the heartfelt simplicity of Kern's Can't Help Lovin' Dat Man, or the emotional depth of Strauss's Morgen, every performance felt completely natural and deeply affecting.

One of the evening's emotional high points came with the sublime Adagietto from Mahler's Fifth Symphony. Fantasia's strings produced a glowing, beautifully balanced sound, allowing the music to unfold with patience and sensitivity. The transition into Alma Mahler's Mild Summer Night and Harvest Song demonstrated the intelligence of the programming, revealing musical and emotional connections that might otherwise go unnoticed.

Strauss's youthful Serenade, originally written for wood wind, showcased the orchestra's excellent string playing, while Elgar's Chanson de Nuit and Chanson de Matin provided moments of unmistakable English lyricism that complemented the continental works perfectly.

After the interval, the programme continued its elegant journey through American song. Kern's The Way You Look Tonight sparkled with effortless charm before Strauss's Die Nacht and the exquisite Morgen returned the audience to richly romantic territory. Sondheim's Send in the Clowns was particularly moving, delivered with emotional honesty rather than theatrical excess, while Porter's I Get a Kick Out of You brought wit and sophistication. Gershwin's Let's Call the Whole Thing Off concluded the formal programme on a joyful note before a warmly received encore of Summertime sent the audience home utterly captivated.

Throughout the evening, Tom Fetherstonhaugh directed with clarity, elegance and an obvious affection for every piece on the programme. His musicians responded with playing

of remarkable polish and commitment, making light of stylistic shifts that lesser ensembles might struggle to negotiate. The result was a concert that felt cohesive rather than eclectic, proving that great music speaks across genres when presented with imagination and conviction.

As the final concert in Fantasia Orchestra's inaugural Smith Square Hall residency, From Mahler to Manhattan offered a fitting summary of the orchestra's distinctive artistic identity. Ten years after its founding, Fantasia has developed into one of Britain's most original orchestras, continuing to challenge expectations while remaining completely accessible and engaging. This concert was not only brilliantly performed but a genuinely moving programme that fulfilled its artistic vision in every respect.

Looking ahead, Fantasia Orchestra's anniversary celebrations continue with a busy summer that includes appearances at Cheltenham Music Festival, Guiting Music Festival and Snape Festival before returning to the BBC Proms at the Royal Albert Hall in August. The orchestra will perform two Proms concerts: a Relaxed Prom on 9 August with the BBC Singers featuring music by Dvořák, Vaughan Williams, Caroline Shaw, Radiohead and Duke Ellington; and a Late-Night Prom on 11 August with the BBC Singers and Dame Evelyn Glennie, including the world premiere of Wood Pigeon, a new BBC commission by Héloïse Werner alongside music by Meredith Monk, Morton Feldman and John Coltrane.

If From Mahler to Manhattan is any indication, audiences can expect the same imaginative programming, musical excellence and spirit of adventure that have become Fantasia Orchestra's hallmark during its first remarkable decade.