The grand symphony "The Symphony of a Thousand" had not been presented here for 30 years. Its return to the Centro Cultural de Belém, performed by the Teatro Nacional de São Carlos, was a momentous event.
Composed between 1906 and 1907, this work is renowned for its massive instrumental forces, featuring eight soloists and two choirs. It embodies an innovative and progressive structure divided into two parts:
Part I presents the hymn "Veni Creator Spiritus," a plea for illumination and inspiration of the heart.
Part II draws from the conclusion of Goethe's "Faust," depicting Faust's redemption and forgiveness after making a pact with Mephistopheles, the devil.
The symphony premiered in Munich in 1910, boasting over 1,000 performers, and was conducted by the composer himself. It is influenced by Beethoven's 9th Symphony and "Missa Solemnis," as well as Wagner's "Parsifal" and "Die Meistersinger."
Symbolizing a spiritual journey of redemption and enlightenment, the performance under Maestro Antonio Pirolli featured notable soloists, including the promising Portuguese soprano Silvia Sequeira, a rarity in the realm of lyric spinto or dramatic sopranos.
The choruses from São Carlos and Cantar performed in such a way as to ensure that the overwhelming number of instruments did not drown out the vocal lines. The participation of the children's choir from the University of Lisbon added an extra dimension to this unforgettable spectacle, making it a worthy counterpart to the last performance three decades ago.
While the event was indeed a celebration, it is crucial to reflect on why such a significant work had been absent for so long. Was it a lack of vision from our cultural institutions, or perhaps an underestimation of the audience's appetite for bold, complex music? The success of this performance serves as a reminder of the richness we have been missing and the need for more regular engagements with such monumental works in the future.