The show began with Camille Pépin’s Inlandsis. This was a magical piece, in the way that looking at a mountain range is breathtakingly gorgeous while simultaneously stupefying. It came as no surprise when, in the programme, I read that Pépin was inspired by melting glaciers when writing Inlandsis. The beginning of the piece holds an ominous, descending minor line that feels like a horror film victim waiting for the jump scare. The timpani grows this image into an almost demonic hellscape, when suddenly the ice melts and the French horn melody that originally landed in discord blossoms into a light, nymph-like violin and piano refrain. The glacier has melted, resulting in fresh water bounding down into the valleys, streams, and the ocean.
The light and airy feeling is then suddenly brought into question as a contemplative clarinet melody mirrors the French horn motif from the beginning. The flute begins to trill, which brought memories to me of Native American flute music, reminding me how they balanced their lifestyle with their environment. But the glaciers have melted, and the timpani unremorsefully drives us back into that ominous landscape. The piece ends in the same foreboding texture it began with, the bowed vibraphone painting images of ice cracking beneath your feet. The BBC Symphony Orchestra, under the direction of Sakari Oramo, does a marvellous job breathing life into the perils and elation Inlandsis travels through.
What joy is greater than watching a master at their craft enjoying their work? Before his musical entrance into Mozart’s Piano Concerto No. 24 in C minor, pianist Martin Helmchen swayed on his seat and let the orchestration wash over him. He then unleashed his incredible skill. Helmchen’s hands journeyed up and down the keyboard like two independent organisms. I’ve only seen such acrobatics, dexterity, and clarity from the likes of jazz pianist Art Tatum. Helmchen and conductor Oramo felt like two dance partners leading the rest of the symphony along an enchanted melodic pathway. I could see Helmchen challenging the orchestra’s dynamics and Oramo responding with his own invigoration at key moments. It truly was like witnessing a brilliant conversation between Helmchen and Oramo.
In the play Amadeus by Peter Shaffer, a fictional version of Antonio Salieri compares Mozart to “the voice of God.” I am not a religious person, but the presentation of Mozart’s Requiem by the BBC Symphony Orchestra was an astonishing achievement. The absolute wall of sound produced by the choir throughout the piece pushed me back into my seat. All vocal parts blended beautifully, and whenever I decided to focus on a particular section, I found brilliant precision. This clarity carried over to the soloists, especially soprano Francesca Chiejina. Her voice always carried that superb blend of ease and power. The movement in her voice from an open, rich forte (loud) contrasted nicely with her graceful piano (soft) passages. Chiejina’s tone consistently rose to meet my ear but never in a way that felt as though she were demanding my attention.
Mozart’s Requiem holds a place in modern consciousness through television, film, and theatre. The movement Lacrimosa alone has been used in popular media such as The Godfather, The Big Lebowski, and The Crown. Mozart wrote Requiem after the death of his father and shortly before he died himself. There is a deeply human mourning in the piece — an acceptance of mortality. The translated lyrics projected on the back wall constantly asked God for mercy from this inevitability. Requiem challenges an audience to stare death in the face and be dazzled by it. Conductor Oramo did great work materialising that amazement. He seemed to read my mind as an audience member, guiding the orchestra on the emotional rollercoaster I had hoped for.
These are world-class musicians and singers performing an immortal opus, led with terrific confidence. If there is ever a chance to see this group do anything, I would take it in a heartbeat.
BBC Symphony Orchestra at the Barbican Centre
Conducted by Sakari Oramo
Programme: Camille Pépin – Inlandsis; Mozart – Piano Concerto No. 24 in C minor; Mozart – Requiem
Performers: Martin Helmchen (piano); Francesca Chiejina, Claire Barnett-Jones, Caspar Singh, Frazier Scott;
Duration: 2h 10m (including interval)
31 October 2025