London Symphony Orchestra in Miami: A Thrilling Return of Discovery and Growth After 40 Years of Absence

The London Symphony Orchestra (LSO) returned to Miami last Sunday for the first time in over four decades. The last time the ensemble, one of the most representative of the United Kingdom, visited the city was in July 1982. Since then, both Miami and the LSO have changed significantly.

Now, under the direction of Sir Antonio Pappano, the orchestra performed in a theater that did not even exist the last time it visited Miami: the luxurious Knight Concert Hall at the Adrienne Arsht Center. This was the second concert in the current "Classics" season, which concludes this month with performances by the Israel Philharmonic (March 19) and the National Symphony Orchestra (March 22).

The program the LSO brought to Miami was essentially a tribute to three composers—one from the United Kingdom and two from the United States—who left a significant mark on 20th-century concert music in both countries: Edward Elgar, Leonard Bernstein, and George Walker.

A Night of Musical Exploration

The evening began with a lesser-known work by George Walker: his Symphony No. 5, the last piece by the African American composer, which may also be considered his swan song, written at the impressive age of 94.

This composition encapsulates much of Walker’s innovative approach to orchestral writing, blending contemporary tonalities with traditional forms to create an atmosphere of unease, tragedy, and inevitability.

That feeling was likely intentional: Walker composed the symphony as a response to the 2015 Charleston church massacre, in which nine African Americans were killed in South Carolina.

Although Walker envisioned the piece as a multi-sensory experience—originally intended to be accompanied by video projections and recited poetry by sopranos—this particular performance presented the work in its purely symphonic form.

The composition is uneven, unconventional and sometimes hard to connect with, filled with dissonance and abrupt tonal shifts that generate a profound sense of restlessness and uncertainty. In many ways, it serves as Walker’s outcry against racial oppression and a statement challenging conventional musical norms.

The LSO delivered a technically sound performance, and the choice to include this piece in the program was an early indication of the new artistic direction Pappano has introduced since taking the helm, embracing a more expressive and experimental orchestral style.

It was also the first moment of the night where the percussion section made a striking impact, shining with moments of powerful resonance.

However, the night’s most luxurious and virtuosic moment came with Leonard Bernstein’s Serenade, a five-movement violin concerto inspired by Plato’s Symposium.

The piece opens with a violin solo, later handing over the main theme to the orchestra for development. Dutch violinist Janine Jansen conveyed a vast palette of tonal colors in each movement, showcasing her ability to shift intensity and mood while maintaining expressive depth.

The orchestra provided technical precision, balance, and cohesion throughout the performance, reinforcing Jansen’s artistry.

Perhaps the most dazzling moment was her interpretation of the fourth movement, Agathon, a breathtaking adagio where Jansen displayed masterful control over tone and intensity.

The fifth and final movement was a moment of triumph for the string section, not only for Jansen but also for principal violist Eivind Ringstad and cellist Rebecca Gilliver, who delivered brilliant and admirably versatile performances.

A Grand Finale with Elgar’s Enigma Variations

The night concluded with a piece deeply ingrained in British and LSO tradition: Edward Elgar’s Enigma Variations.

The LSO’s connection to Elgar is well known—he led the orchestra’s first tour in 1905, and for over a century, his works have remained a defining part of the ensemble’s repertoire. In fact, the LSO performed a theme from the Enigma Variations at the opening ceremony of the 2012 London Olympics.

It was precisely that theme, the well-known Nimrod adagio, where the orchestra shone the brightest under Pappano’s baton, capturing the distinct character of each variation while maintaining overall cohesion.

The 14 demanding variations, with their shifting tonalities, pose a challenge for many orchestras. However, the LSO’s performance showcased not only remarkable solo moments—once again, Ringstad’s viola, Gilliver’s cello, and Sérgio Pires’ clarinet stood out—but also the ensemble’s unity, particularly in the expansive harmonies and sweeping phrases that define Elgar’s writing.

The fugato section of the finale ("E.D.U.") was a brilliant display of tight ensemble playing and rhythmic precision, leaving the audience with the satisfying sense of having witnessed a concert by an exquisite, dynamic, and remarkably versatile orchestra.