Royal Festival Hall, London
Renée Fleming brought her communicative gifts to Strauss’s Four Last Songs in a programme dominated by Wagner. Making his LPO debut, Thomas Guggeis was an urgent presence

It was Donald Tovey who first coined the phrase “bleeding chunks”, referring to the often unsatisfactory practice of excerpting Wagner’s operas out of context. German conductor Thomas Guggeis’s rather neat solution here was to stitch them together into a relatively seamless whole. It certainly worked well in the second half of this Wagner and Strauss program, the London Philharmonic segueing effortlessly from Tannhäuser into Lohengrin and on to Die Meistersingers von Nürnberg.

Guggeis, whose Wagnerian credentials are impeccable, was an urgent presence, his eloquent body language and balletic arms conveying his every musical wish. If it was a little distracting at times, the results spoke for themselves. In the Tannhäuser Overture, the burnished brass of the Pilgrims hymn contrasted with skittish violins and woodwind in the Venusberg music. Sensual strings were coaxed to an orgiastic climax replete with crashing cymbals and clacking castanets before Guggeis crouched low to tease out a balmy post-coital epilogue.