Review of Fantasia Orchestra’s ‘From Mahler to Manhattan’: “Tribute to golden classics shines with its own gilt”

It’s hard to describe beauty when it transcends words. And that’s the ongoing struggle that, as a critic, I often face when reviewing a classical music concert — especially when there’s so much brilliance in it. As my second encounter with the young but fast-growing Fantasia Orchestra, my expectations for high quality were reasonably cemented. My first experience last year might not have been absolutely perfect, but its overall competence wasn’t any less astounding. Undoubtedly, this time has been no exception.

From Mahler to Manhattan premiered last Friday as the ensemble’s finale for their 2026 residency programme at London’s Smith Square Hall. Featuring an extensive repertoire ranging from post-Romantic icons to old-Broadway legends, the gig took audiences on a journey of piercing emotiveness, lushness, and allure — where the soloists’ bravura and the group’s general finesse were the great stars of the night.

Replacing its customary symphonic setup with full-string arrangements- supported by additional percussion and a harp -, the show teemed with delicacy and fervent sentimentality. Both were channelled and accentuated by Tom Fetherstonhaugh’s impassioned conducting, whose excellence lies in his magnificent understanding of phrasing, texture, and flow.

The result speaks for itself. And for the most part, it sings as well. A bright, electrifying rendition of Strayhorn and Ellington’s Take the ‘A’ Train built a kaleidoscopic opening and a rousing prelude for what was to come. Spirited and colourful on the whole, the number was followed by several equally captivating performances, which culminated in a soulful, dainty, and technically impeccable interpretation of Mahler’s Adagietto from Symphony No. 5.

Both concertmaster Samuel Staples and cellist Toby White shine through the gracefulness of their execution, which is generally buoyant and soaring — and it’s embellished by Anwen Thomas’s gentle radiance at the harp. The rest of the combo matches their aptitudes fairly well, but some snippets lack that same level of lightness and purity. And consequently, Richard Strauss’s Serenade Op. 7 came across as murky and slightly rudimentary, particularly across the second violin section.

The other highlight of the evening was provided by mezzo-soprano Niamh O’Sullivan and her exceedingly touching rendition, which remained faultless for most of the concert. Beyond her superb vocal skills, O’Sullivan’s approach is marked by her noticeable care for the dramatic elements. The outcome is a remarkably poignant interpretation where the musical aspects don’t eclipse the acting. And instead, they work in tandem to capture every piece’s full potential — may Send In The Clowns be all the evidence you need.

Despite a few discernible flaws, Fantasia Orchestra’s farewell performance for their 2026 residency season is still a commendable effort. And in many ways, a triumphant one, too. Demonstrating intricacy, adroitness, and instinct all throughout, the group has taken another confident step into building a solid reputation in the emerging scene. And it shouldn’t take that long until they stand higher above.

Read our interview with conductor Tom Fetherstonhaugh here!

Upcoming concerts by Fantasia Orchestra are available on the following link.

By Guillermo Nazara