Gems of German Baroque at St.Andrew’s

Posted on by Peter Mechen

Music by Johann Sebastian Bach, Georg Philipp Telemann and Carl Philipp Emanuel Bach

Calvin Scott (oboe)

Margarte Guldborg (‘cello)

Ariana Odermatt (harpsichord)

St.Andrew’s Lunchtime Concert Series 2010

Wednesday, 3rd March

Here, throughout this lunchtime concert at St.Andrew’s, was old-world charm and sensibility aplenty, a kind of “window in time” feeling, adding to the pleasure of it all. The music was delivered by three skilled musicians bringing varied instrumental voices and markedly different temperaments to play in their combinations, of the kind that nicely brought out that “baroque” sensibility of contrasting conversation and elaborate soliloquy. A sensitive, small-toned harpsichord threw into bold relief a bright, cheery oboe sound, while the ‘cello took a middle course, now soft-grained, now penetratingly nimble in passagework, always alive to what was suggested by the other two instruments. Contrary to my expectations regarding this composer’s music, the CPE Bach work that began the programme was more than usually urbane and straightforward, played here by oboist Calvin Scott with plenty of warmth and feeling, though I thought harpsichordist Ariana Odermatt took a while to warm up at her instrument, producing steady, but overtly mechanical playing throughout the first movement. The Adagio second movement brought out a more expressive manner, with flexible pulsing from both players and some admirably sustained notes from the oboe. Not even in the finale did CPE Bach reveal his sometimes peppery and idiosyncratic side, apart from a certain insistence in the music’s repeated, stuttering notes at one point, the music remaining highy engaging in a conventionally conversational manner, nicely brought off by both instrumentalists.

The next two items came from “Old Bach”, a Prelude, Fugue and Allegro in E-flat major (BWV 998) for solo harpsichord, followed by a sonata written for viola da gamba and harpsichord in G major (BWV 127). The harpsichord solo established a stately, gracious mood at the opening, the formalities being allowed to nicely “unfold” in Ariana Odermatt’s hands. The player seemed not to be inclined to use the upper keyboard of the instrument, except for the occasional “echo effect” in the last movement. With the sonata for viola da gamba (played here on the ‘cello by Margaret Guldborg), the music’s expressive capacities moved upwards several notches – the opening Adagio, though surprisingly light on its feet, was given a soft-grained and sensitive performance. This was followed by an Allegro in which the players again brought out the lyrical than the rumbustious aspects of the music, which might have been thought by some a little too much of a good thing by the time the subsequent Andante had finished – but I loved the way the “held” notes from the ‘cello allowed the harpsichord’s voice to decorate the linear spaces. Happily, the concluding Allegro moderato sparked exchanges of gaiety between the instruments (“gambolling” I wrote), with some skilful rapid passagework by the ‘cellist.

Calvin Scott returned with his oboe for a Sonata in E Minor by Georg Philipp Telemann, for oboe and basso continuo – he produced a lovely, creamy sound in the opening Largo, and set the tone for fine teamwork in the following Allegro, stimulating a skilful give-and-take between the instruments.The brief pastoral Grave was an idyllic moment between two separate energies, the Vivace finale going at a great lick, but with the players finding a balance between driving energy and boisterous spirits – delightfully adroit phrasing from the oboe, and some telling touches from the ‘cello, solidly supported by the harpsichord.An eloquent conclusion to the concert was provided by a sinfonia from one of JS Bach’s cantatas, No.156 “Ich steh’ mit einem Fuss im Grabe” – a heart-easing performance,with musical touches in every register – oboe lyrical and plaintive, ‘cello gently purposeful, and harpsichord tastefully colouristic and decorative.

Simon O’Neill and Terence Dennis in conversazione for Wagner Society

Posted on by Lindis Taylor

Wagner Society of New Zealand – Wellington Branch

Simon O’Neill (tenor) and Terence Dennis (piano) talk about Wagner and his music, and O’Neill’s emergence as a leading Wagner tenor.

St Andrew’s on The Terrace

Sunday 28 February 2010

Simon O’Neill was one of the soloists in the performance of Mahler’s Eighth Symphony with the NZSO two nights before; the following Friday he would sing a number of chunks of Wagner, again with the NZSO.

He needed to protect his voice; in addition, he had a cold – he told us his daughter had coughed in his face a few days earlier, and so he apologized for not singing. Instead, he and Terence Dennis presented a conversazione, an extensive talk for about two hours about O’Neill’s career, discussing his beginnings in New Zealand, advanced study in New York, and his performing career which had begun quite seriously in New Zealand; as well as providing an entertaining miscellany of recondite Wagner lore and scholarship.

They began by touching on aspects of O’Neill’s early stage experience in New Zealand which put him well ahead of most other student singers at the renowned Manhattan and Juilliard music schools in New York; he’d sung in Gianni Schicchi, understudied Enrico in Lucia (he was then a baritone) and sung Rodolfo in Canterbury Opera’s La Bohème.

After studying in New York, he soon burst into prominence, with experience first with New York City Opera and later with the Met.  His first audition with the Met had involved the First Armed Man in The Magic Flute, which is seen as a signal mark of a promising tenor career. Then came the invitation to understudy Placido Domingo, who became a powerful friend and mentor. Later, there was Donald McIntyre in the Wagner repertoire, John Tomlinson and many others.

It was not all talk, however. The session had begun with the sound of O’Neill from his recent CD recorded with the NZSO, singing ‘Winterstürme’ from the first act of Die Walküre. If it created an excited anticipation of more heroic episodes from The Ring, Parsifal or Lohengrin, with Terence Dennis at the piano, we were of course disappointed. But the enforced alternative was to be intimate to continuous intense, volatile dialogue, with the musicians falling over each other to embellish anecdotes and to recall additional detail, or, from Terence, to add flashes of absorbing erudition and wonder at the Wagner experiences he has accumulated all over the world, which held the audience spell-bound.

If Simon O’Neill never hesitated from talking with a touching, boyish passion about the luck that had thrust him quite suddenly into the lime-light, he was full of praise and gratitude for teachers, fellow singers and conductors who had helped him, mentored and opened doors for him, from Otago (where Terence Dennis played an important role) and Victoria universities (Emily Mair), and in New York. Warmly generous in his comments about teachers and colleagues, he heaped praise on many of the teachers both in New Zealand and abroad, including Frances Wilson and Marlene Malas at the Manhattan School of Music. New York vocal mentors included such celebrated singers as baritone Sherrill Milnes and mezzo-soprano Marilyn Horne, who had sponsored him through her own foundation, and there was also a memorable masterclass with Luciano Pavarotti.

It wasn’t till after his time at the Juilliard School that he studied his first Wagner roles, principally Siegmund and later Lohengrin.

Simon recalled how, at Heath Lees’ urging, he’d written to Sir Donald McIntyre from New York and so began a close relationship that proved a key to his advancement in Wagner performance. ‘McIntyre was so generous!… can’t thank him enough!’

But his path led through more conventional music too – Mozart, with Tamino and Idomeneo (the High Priest), the latter his debut role at the Met.

Simon talked about New Zealand performances that were critical, remarkable in his early career. As Dmitri in Boris Godunov for New Zealand Opera and as Parsifal in the 2006 International Festival, which he rates not only as a momentous step for him but as one of New Zealand’s great opera achievements, with its wholly New Zealand cast. It was ‘an amazing event’, he said, marvelling particularly at McIntyre’s performance of Gurnemanz at age 71.  This reviewer shares his opinion about the miracle of that performance, almost equalling the wonderful Meistersinger at the 1990 festival.

His most exciting step was to understudy Domingo as Siegmund in the famous Otto Schenk production at the Met, and sing the role on a Met tour to Japan. He made his significant Met debut as Siegmund in the last season of this famous Schenk production under the baton of Donald Runnicles in a splendid cast that included such noted Wagner singers as Lisa Gasteen (Brünnhilde), Deborah Voigt (Sieglinde) and James Morris (Wotan); he is incredulous that he had to sing that performance onstage having had no orchestral rehearsal.

A veteran Met audience member at those performances was overheard to have said: “This was the finest Siegmund I’ve heard in this house for 41 years”. The earlier singer referred to was presumably John Vickers… indeed James Levine has particularly complemented Simon on the eloquence of his singing, that does recall the Wagner greats of earlier generations; Simon mentioned how he has modeled certain aspects of his approach to singing these roles on the great Wagner tenor Wolfgang Windgassen, and is particularly inspired by the older Wagner greats like Melchior, Lorenz and Völker.

His wide-eyed wonderment at his association with Domingo extended to forcing his feet into Domingo’s boots for the role of Siegmund; and he was bemused at being mistaken on the Met’s tour to Japan for Domingo by a couple of Japanese ladies.

Then Simon described the excitement of his European experiences, singing with the Berlin Staatsoper under Barenboim, in open air concerts of Act one of Walküre at the Villa Rufolo in Ravello, above the Amalfi Coast in Italy (Wagner had stayed there and was inspired by its exotic garden for Klingsor’s Magic garden in Parsifal); he has also appeared at the Waldbühne outside Berlin (Nazi associations through its origins, with the 1936 Berlin Olympic Stadium, and all).

Now he’s in demand as Lohengrin, his latest Wagner role. He sang this at Covent Garden and Houston Grand Opera to much acclaim last year.

There were wonderful Bayreuth anecdotes. Unexpectedly asked at his stage audition to sing a passage from Lohengrin, he confessed he needed the score for the words and hadn’t brought it. Wolfgang Wagner and Christian Thielemann were present and ventured to say that would not be a problem: after all, even Wagner’s autograph of Lohengrin was nearby!;… and Simon was overcome with awe.

Eva Wagner-Pasquier and Katharina Wagner ( the present joint artistic directors of Bayreuth) offered him both roles of Parsifal and Lohengrin at forthcoming Festivals.

Departing from Wagner, I liked his little story about singing Florestan in his Covent Garden Fidelio. Simon’s mind went blank at the start of Florestan’s opening aria in Act II. The house was quite dark, and suddenly it came to him: ‘Gott, welch’ Dunkel hier’. Someone up there helping…?

Throughout the conversation, Simon would get up and go to the piano to play the introductory bars to various episodes, and sing a few tantalizing phrases.

At the end of the first half, Terence took to the piano, as originally planned, explaining that he was about to play, perhaps for one of the few times in a century as it was long out of print, Busoni’s magnificent transcription of the Funeral music from Götterdämmerung. Not an orchestra certainly, but the powerful emotion was there in his splendid, sombre performance, and this provided the musical interlude to the second half of the session.

Dennis’s frequent interventions were quirky and wonderful. Just one: The 1936 Bayreuth production of Lohengrin, paid for by Hitler was offered as by the Führer as his present for the coronation season of Edward VIII, which never took place. The monarch is said to have responded that he was happy to receive the production “as long as I don’t have to sit through it.’ (you’ll note, no objection to a connection with Hitler however).

Also outside the Wagner realm though close to it, Simon’s recently recorded opera by Chausson Le Roi Arthus (King Arthur) was mentioned, as a proto-Wagner enterprise: he sings Lancelot in this, opposite the Guinevere of soprano Susan Bullock; with Antonio Pappano he went to Rome to sing Beethoven’s Ninth in the wonderful new Auditorio. And, significantly, before Christmas he sang Verdi’s Otello for the first time, at the Barbican Hall in London, under Sir Colin Davis at the eleventh hour – facing the big opening entrance Esultate! for the first time was singularly scary; the London reviews were sensational. In 2012, he sings in the Covent Garden Ring celebrating the London Olympics.

2013 is of course the big year – the bicentenary of Wagner’s birth (and of Verdi’s too – must stay alive for both). And Simon has frightened himself by saying yes to invitations to sing the Götterdämmerung Siegfried in Ring productions at such eminent opera houses as the Met, both the Deutsche Oper and the Staatsoper in Berlin, at Hamburg Staatsoper, Vienna Staatsoper, La Scala Milan and at Covent Garden.

There are Wagner roles Simon admits he’s still scared of: Meistersinger (the Third Act), Tannhäuser and Tristan. He’s done all the others. He has turned down offers to sing Rienzi in Berlin, several Tristans and Tannhäuser: these are the really exceedingly taxing Wagner tenor roles, and time is on his side for these in the future…..

There was a pretty large audience in the church; all were aware that they might be able to name drop in ten years about hearing O’Neill in his early years.

I have to thank Terence Dennis for reading my account and for making several corrections, amendments and additions. Lindis Taylor


A truly festive “Symphony of a Thousand”

Posted on by Peter Mechen

MAHLER – Symphony No.8

(“Symphony of a Thousand”)

Twyla Robinson (sop.) / Marina Shaguch (sop.) / Sara Macliver (sop.) / Dagmar Peckova (m-sop.) / Bernadette Cullen (m-sop.) / Simon O’Neill (tenor) / Markus Eiche (baritone) / Martin Snell (bass)

New Zealand Youth Choir / Voices New Zealand Chamber Choir / Christchurch City Choir / Orpheus Choir of Wellington / Choristers of Wellington Cathedral of St.Paul

New Zealand Symphony Orchestra

Vladimir Ashkenazy (conductor)

New Zealand International Festival of the Arts Opening Concert Michael Fowler Centre, Wellington

Friday 26th February, 2010

No, it wasn’t opera, but it was in its own way as spectacular, and as an occasion did give a “festive” kind of thrill for all concerned, which was exactly what was wanted. This most flamboyant of all of Mahler’s works (its nickname “Symphony of a Thousand” stemming from the first public performance in Munich in 1910, conducted by the composer, in which 858 singers and 171 instrumentalists took part) is perhaps the most perfect festival offering that symphonic music can provide. Of course the work can be performed quite satisfactorily with somewhat lesser numbers, as it was on this occasion (three hundred choral voices, eight soloists and a hundred-and-twenty instrumentalists) all of whom when singing and playing together made a wonderful noise in Wellington’s Michael Fowler Centre!

Spectacle was certainly one of the ingredients of the proceedings, to which was added the lustrous glow of the presence on the podium of one of the world’s most renowned musicians, Vladimir Ashkenazy. Originally finding fame and honour as one of the great interpreters of the romantic keyboard classics, Ashkenazy has for the past thirty years consolidated a “second career” as a conductor, though he continues to perform and record as a pianist. In the past I’d not associated him greatly with the music of Mahler, although he’s conducted the symphonies with various orchestras in different parts of the world, coming to them through his involvement with the music of Shostakovich, the latter a professed admirer of the older composer’s music. Ashkenazy has recorded several of the Mahler Symphonies with the Czech Philharmonic already, but over the next two years there are plans to both perform and record all of the symphonies with the Sydney Symphony Orchestra, of which he’s Principal Conductor.

Along with Ashkenazy, the performance boasted an impressive lineup of soloists, one which included two New Zealanders presently building successful career portfolios as performers overseas, tenor Simon O’Neill and bass Martin Snell. With German baritone Markus Eiche the men made a formidable trio of voices, their strength and consistency overshadowing the women’s quartet, in which soprano Marina Shaguch alone seemed completely at home with her part, delivering her soaring lines with an ease and freedom that her colleagues couldn’t quite match. Fellow soprano Twyla Robinson approached her in fervour, even if her highest notes occasionally showed strain; while both mezzos, Dagmar Peckova and Bernadettte Cullen kept their lines secure and reliable throughout. If they seemed relatively underpowered in places when singing solo, they made up for it through their sterling ensemble work, especially amid the feverish energies of the Symphony’s first, and largely vocal part. Soprano Sara McLiver’s brief but mellifluous contribution to Part Two as Mater Gloriosa was another strength of the performance, her voice placed further back than the other soloists for an other-worldly effect, even if her all-too-workmanlike entrance and exit through the choral ranks somehow didn’t go with the ethereal quality of her singing.

Mahler’s intention with this work was to give the impression of “the whole universe beginning to sing and resound…..no longer human voices, but coursing planets and suns”. Ashkenazy very quickly set the music on its course at the start, galvanising his forces into action, almost before the audience had finished welcoming the great man onto the platform, and was settling itself down once again in preparation for the work’s beginning. The music was more fire and volatile energy in Ashkenazy’s hands than cosmic majesty, his precise beat keeping things moving, with the sound-surges erupting like geysers and blowholes, but without ever tipping over into stridency or incoherent noise. During Part One the few orchestra-only passages were packed with beautifully-articulated detail, the sheer effervescence of the string-playing more than compensating for a slight moment of imprecision at the final surge forward in tempo towards the end, where the build-up of overlapping voices and instrumental tones did indeed give the impression of the universe itself bursting into full-throated song.

By contrast with the “music of the spheres” aspect of the symphony’s opening, the second part takes us to the very heart of German Romanticism, Mahler’s setting of the final part of Goethe’s Faust. Here the orchestra paints a stark, rugged landscape representing a world of direct contact between nature and the human spirit – Goethe’s directions, reproduced with the text, speak of “Mountain, gorge, forest, cliff, desert”, with “Holy Anchorites…sheltering in rocky clefts”. Ashkenazy and the orchestra seemed to underline the contrasts within the instrumental prelude between the starker, more jagged and elemental writing, and passages of smoother, warmer legato harmonies, as if representing human aspiration and feeling seeking communion with these wild, rugged natural places. I felt the dry-ish aspect of the MFC robbed the hushed choral entries of much of their resonance and atmosphere, so that the musicians had to work that extra bit harder to convey the depth and fullness of Mahler’s vision – fortunately the performers possessed the necessary skill, concentration and focus to bring out the music’s raw power and sense of awe. Both Markus Eiche as Pater Ecstaticus and Martin Snell as Pater Profundus made the most of their wonderful declamations, the former energetic and passionate, the latter rich and sonorous, if ever-so-slightly troubled by the highest of his notes. As for Simon O’Neill, singing the part of Doctor Marianus, once one accepted a slightly “pinched” quality to his highest tones, his whole-hearted, engagingly radiant acclamation of the Mater Gloriosa, accompanied by the children’s and women’s choruses, readily evoked the presence of the “Eternal Feminine”, and even managed to transcend the incredibly cheesiness of the euphonium-accompanied string passage which Mahler wrote to depict Goethe’s directive “Mater Gloriosa soars into view”.

Throughout, the choruses gave their all, including the children’s choir whose singing made up in charm and point what it lacked in sheer volume, in places. After the magnificently energetic and all-encompassing fervour of Part One, the different choirs girded their loins and with Ashkenazy’s encouragement gave us exactly what the more diffuse Part Two demanded – long-breathed utterances interspersed with episodes of transcendent delight. What Mahler said about symphony – “It is like the world – it should contain everything!” was brought to triumphant fruition by the final “Chorus Mysticus”, whose gigantic paean of acclamation must have rumbled and shaken every fibre of being in the auditorium. Ashkenazy responded charmingly to the enthusiastic applause of the audience at the end by insisting upon repeated bows from the soloists, to further applause, and so on.

It’s well worth recording that, as if these goings-on within the Michael Fowler Centre weren’t enough to proclaim “festive occasion”, there were worlds wrought outside worlds for a wider audience, courtesy of good will and technological wizardry. The performance of the symphony was relayed “live” via big screen and speaker colonnades to a crowded Civic Square, an absolutely splendid gesture on the part of the festival organisers, the orchestra and, one supposes, Ashkenazy himself, as the concert itself had been sold out for many days beforehand. Happily, the weather was kind that evening, and the music-making was, according to my spies, conveyed vividly and truthfully enough to make for a memorable out-of-doors Mahlerian experience. So whether one was outside or within the hall, that sense of the spectacular and extraordinary was all around, which for an Arts Festival is, of course, just how it should have been.

‘Home’, a musical play of New Zealand and World War I

Posted on by Lindis Taylor

Weaving Scottish songs into a New Zealand war. (The Fringe Festival) 

Artistic direction: Jacqueline Coats; graphic design: Katie Chalmers; singers: Rowena Simpson and Stuart Coats; piano: Douglas Mews

Tararua Tramping Club, Moncrieff Street, Mount Victoria

Thursday 25 February 2010

The New Zealand war, so advertised in the production’s publicity, turns out to be not the land wars of the 19th century, but World War I, specifically the Gallipoli experience to which it has become fashionable to attribute the emergence of some sort of national New Zealand soul and identity.

The promotion also offers the following: “‘Home’ is an original performance of song and spoken word, weaving the story of Scottish immigrants into the story of a nation.  The performance uses diary entries and letters to tell the story of Maggie, a recent immigrant from Scotland, and Johnnie, a first generation New Zealander, who meet in Wellington just before the outbreak of WWI . The text is set to traditional Scottish folk songs from a book bought in Invercargill in the 1890s.”

It is a duodrama, with an important third performer in Douglas Mews who plays the piano accompaniments to the songs and some music on his own.

The action takes place in the very untheatrical space, a former church belonging to the Tararua Tramping Club. It’s 1910; the only props are two clothes lines with blankets hanging on them; there is no lighting or scenery to help distinguish the changes of place later in the action, from a New Zealand farm to the steep hills of Gallipoli.

After Douglas Mews has played a prelude consisting of a couple of Scottish folk songs, Johnny, Stuart Coats, welcomed us to a concert by the local Caledonian Society. He sings the first stanza of Mairi’s Wedding, calling up Maggie, a recent arrival from Scotland, to sing the rest. There’s initial attraction between them, a tactical blunder that temporarily separates them, then love which is again disturbed for a while by political differences (he’s a Massey supporter – not unexpected for a young man proud of his farming credentials while she, from a poor background, is Liberal), and then the war which inspires Johnny to enlist.

Scottish and North country songs illuminate each phase of the story, some tenuously. But both singers showed a vocal skill, musicality and theatrical flair that gave the piece its reality and proved the main source of enjoyment. Coats’s voice is coloured by a tremulous vibrato that recalls an older singing style that enhances the show’s authenticity. It would not be fair to say that Rowena Simpson’s accomplishment in early music styles through study in Holland and performance with various important baroque and classical ensembles was demanded here but her vocal talents were a major asset in the performance. The broad Scottish accent that she adopted was convincing if a bit hard to understand at times.

The core of the drama is conveyed through letters exchanged between the two, which each reads either as writer or recipient. Knowing, with hind-sight, the high risk of death or serious injury in that ill-conceived campaign, tension was automatic; the story exploited it well and the singers made it more believable than the unforgiving staging might have allowed.

The tension held till the very end when reports of Johnny’s missing were revealed as the result of a not uncommon name confusion, and he returns with only minor wounds to his happy wife.

The story prompted me to reflect on recent reading about the First World War. New Zealanders like to paint the Gallipoli experience as the key nation-building event, forged in the horror of casuality rates per head of population that were something extraordinary.

But it’s odd how our knowledge is so confined to the relatively limited British and Empire involvement in the war.

The chronology in the programme notes that 2721 New Zealanders died at Gallipoli, when New Zealand’s total population was just over a million. In the following year, 1916, the prolonged and hideous battle of Verdun claimed some 160,000 French lives, when France’s population was 40 million, some 60 percent greater than New Zealand’s losses on a per capita basis. German losses were not far short of the French.

 

 

 

The Tudor Consort sings Byrd

Posted on by Lindis Taylor

Motets from the two volumes of William Byrd’s Gradualia; two organ fantasias; Motet: ‘Domine quis habitabit’

The Tudor Consort conducted by Michael Stewart, with Douglas Mews (organ)

Sopranos Jane McKinlay, Anna Sedcole, Erin King; alto Andrea Cochrane; counter-tenor Dimitrios Theodoridis; tenors Philip Roderick and Richard Taylor; basses Brian Hesketh, Matthew Painter, Richard Walley.

Cathedral of the Sacred Heart; Saturday 13 February 2010

The Tudor Consort’s first concert of 2010 was wholly devoted to vocal liturgical music by William Byrd, apart from the inclusion of two of his keyboard fantasias played by Douglas Mews.

The choir’s director, Michael Stewart, spoke before the concert about Byrd’s two volumes of Gradualia, a term used sometimes used for the settings of the ‘Proper’ of the Mass – the part that varies according to the festivals of the church calendar – as well as for one section within the ‘Proper’; and he distinguished the ‘Proper’ from the ‘Ordinary’ of the mass whose six parts are unvarying: the usual content of musical mass settings. He also spoke of Byrd’s difficult times as a Catholic in the reign of Protestant monarchs Elizabeth I and James I, and the effect it had on his musical settings; and touched on the textual difficulties of Byrd’s publications, particularly of the first Volume of Gradualia.

Though ten members of the choir were on hand, most of the pieces were sung one voice to a part, varying between four and six voices; the final motet, ‘Domine quis habitabit’, demanded nine voices.

Though this was undoubtedly authentic in terms of the forces Byrd was probably limited to in Protestant England, we have no way of knowing whether, if his Catholic liturgical music had been written in times when performances did not have to be very private and small scale, he would not have expected a larger choir. Does it really serve the music well to pursue authenticity in such a literal way?

One voice to a part is undoubtedly a more challenging matter than singing in a larger choir where a good blend is probably easier to achieve and the experience for each singer is no doubt less nerve-wracking; and where the enjoyment of the audience might just be increased.

For the most part rehearsals seemed to have produced reasonable confidence in the singers. These are talented and well-schooled singers, but throughout the concert I was never unaware that the very distinct voices did not blend particularly well to create an illusion of real homogeneity.

The voices that stood out tended to be the high ones: the three sopranos and counter-tenor Dimitrios Theodoridis. In the pieces from the first volume of Gradualia, the strong and penetrating voices of Theodoridis and Anna Sedcole were conspicuous while mezzo Andrea Cochrane’s warm voice seemed rather better adapted to creating a successful blend. She, and the lower men’s voices, created an attractive liturgical ambience.

The ten singers took turns singing in each group of motets, adhering strictly to one voice to a part. The concert took examples of the 109 motets that comprise the two books, for various feasts or festivals: for the Virgin Mary in Advent, for Corpus Christi, for Pentecost, for the Assumption and for Saints Peter and Paul.

Jane McKinlay took over the soprano role in the next group, for Corpus Christi, her voice a little more readily blending, in the calm Offertory and the following ‘Ave verum corpus‘ where hers was the only female voice, supported by the two tenors Philip Roderick and Richard Taylor and bass Matthew Painter; something of a real choral sound was produced. The singing succeeded in reflecting the gruesome nature of the words contemplating Christ’s mutilated body.

Though the range of vocal styles is limited, the subtle differences emerge as the ear and mind become acclimatized; the Sequence from the Pentacost Propers, ‘Veni sancta spiritus’ expressed through lively dotted rhythms, was an interesting case.

I detected some uncertainty in the next motet, ‘Factus est repente’ and raggedness in the Assumption Introit, ‘Gaudeamus omnes’. But the general precision and the scrupulous attention that had been paid to dynamics and intonation were far more noteworthy.

Douglas Mews played two fantasias on the chamber organ; the first, Byrd’s own arrangement of one of his fantasias for viol consort, the other an original organ fantasia. The first, in C, struck me as rather overcome by its subdued character, its interest lying in its slowly evolving textures; the second, in A minor, was probably an early piece, not very sophisticated though technically accomplished; the playing suggested some hesitancy.

The final motet, ‘Domine quis habitabit’, came as something of a welcome change, partly because it uses more voices and offered a wider sonic palette, with less tendency for individual voices to dominate. It too was an early work, as the programme note points out, thus closer in spirit and technique to Tallis, and perhaps not as representative of the mature Byrd as are the Gradualia. Nevertheless the constant, elaborate counterpoint was an impressive statement of the composer’s genius. It was a happy conclusion to the concert, allowing us finally to enjoy the essential strength and skill of the choir.

There is another question that I’m prompted to raise here.

In a time when Christian belief and practice are at a historic low, and familiarity with the terminology of the liturgy and church practice are only vaguely understood by the majority and probably not even very well by many Catholic adherents, is it time that the presumption of understanding of the arcane references to the liturgy and church ritual, without elucidation, was reconsidered? Short glossary notes should be routinely offered whenever such expressions are used.

While Stewart did explain the significance of the Ordinary and the Proper of the Mass, such pains were not routine. To take a few examples of terms for which no explanation was offered. First: the meaning and significance and place in the service of the Gradual, Antiphon, Introit, Offertory, Responsory, Eucharist; and what is ‘a votive mass’? And it should be routine to set down the dates and meanings of the various Christian feasts – Assumption, Pentecost, Advent, Annunciation, etc. There is a great deal more.

As with so much else in the realm of ‘classical’ music, the use of such terms, without simple explanation, is very likely one of the reasons this music is considered ‘elitist’, beyond the reach of the un-trained, the un-lettered: in fact, the great majority of people who are no longer exposed by their families, at any point in their school lives, or subsequently through the media, to religious liturgy or classical music of any kind.

 

Impressive Opera School concert at Wanganui

Posted on by Lindis Taylor

The Sixteenth New Zealand Opera School, Wanganui

Grand Final Concert. Principal tutors: Paul Farrington, Margaret Medlyn and Barry Mora; tutor, voice and languages: Richard Greager; Director of Performance: Sara Brodie; Italian language tutor: Luca Manghi; Performance assistant: Kararaina Walker

Royal Wanganui Opera House, Wednesday 13 January 2010

Twenty-four singers took part in the Final Concert of the 2010 opera school, reportedly the equal largest number. The difference between earlier line-ups and this was rather in quality than in quantity, though one could reasonably expect an increase in excellence of candidates over the years. The large number of participants meant that no singer gave more than one solo performance, though a few took also part in two ensemble pieces from Don Giovanni. This was probably the biggest audience I have seen at these concerts, boosted no doubt by the timely highlighting of the counter-tenor who had attracted national news coverage.

The evening began with a kairanga delivered by Kararaina Walker and introductory comments from school founder/director Donald Trott, who called for tutors and then the team of administrative volunteers to be acclaimed on the stage.

The recital began with three items under the heading ‘La belle époque’ (broadly the Third Republic period – 1870s till the First World War): first, Rose Blake sang the recitative and aria ‘Je marche sur tous les chemins … Obéissons…’ from Manon, risking hubris as she exalted in her shallow, glittering new life. It was stronger in stylistic grasp and energy than in finesse perhaps.

Bianca Andrew’s aria was from Gounod’s late opera, Cinq Mars, like Manon, in the decade after the Franco-Prussian War, ‘Nuit resplendissante’, A creditable effort with an unfamiliar piece, under good dynamic control if not as robustly romantic as it might have been. Oliver Sewell also sang Gounod – the familiar ‘Salut, demeure chaste et pure’ from Faust. It’s an uncomfortable piece to interpret, to overcome the audibly false sentiment and stagey gestures that are intrinsic to it; Oliver didn’t manage it without a degree of stiffness, both in voice and gesture. Nevertheless, one could read his final falling dramatically to his knees as a proper portrayal of an ultimately hypocritical action.

There followed six Mozart items, ending with a piece from William Bolcom’s A View from the Bridge, tenuously linked with Lorenzo da Ponte’s later life in New York.

David Wallace chose to present an untidy, uncouth Figaro for ‘Se vuol ballare’, though he sang it excellently, with a passion. Zerlina’s ‘Batti, batti’ from Don Giovanni was incarnated admirably by Emma Newman; though her dynamics and colour were rather unvaried, her voice is firm and even and her stage presence vivid. In comparable soubrette guise, Cherubino’s ‘Non so piu’ from The Marriage of Figaro was presented by Sheridan Williams rather convincingly, iffy intonation notwithstanding.

She stayed on stage to become the victim of Figaro’s admonishments, taunting Cherubino’s for his imminent departure in the army: ‘Non piu andrai’. Tavis Gravatt’s interesting, grainy baritone, excellent low range, gave it a vigorous authority. Here the rest of the singers provided a comic, never-mind inauthentic, audience to assist in Cherubino’s discomfort. It was one of the many enlivening touches contributed by director Sara Brodie who was responsible for making a sort of coherent performance from each ‘tableau’ that comprised themed numbers.

A change of opera next: Così fan tutte with Despina’s ‘In uomini’, where she urges her two mistresses to take their chances. Amanda Barclay’s voice was agile, true and she was pretty enough to cause her charges to worry. It was one of the best performances thus far.

An ensemble followed, ‘Protegga il giusto cielo’, a quintet of the five leading characters in Don Giovanni. Gravatt reappeared as Leporello with other yet to appear singers, notably Daniel O’Connor as the Don. It was another of Sara Brodie’s vivid and effective little scenes.

Then came the rather incongruous little ode to New York from the Arthur Miller/William Bolcom opera, A view from the Bridge: a reminiscence rejoicing in the superior beauties of New York over Naples, Venice and other ugly Italian cities such as Mozart’s librettist would have been happy to have escaped from, spending his last years in New York. Tenor Brent Read had it under control, with a voice of even quality throughout its range and a grasp of style.

‘On Tenterhooks’ was the title of the next tableau, excerpts exploring moments of crisis, anxiety, impending loss, perhaps a glimmer of hope. These were accompanied by Bruce Greenfield who demonstrated a mastery of the accompanist’s art that had not been quite as marked earlier.

Francesca Geach, in a knee-length green dress, sang Lauretta’s overexposed ‘O mio babbino caro’ from Gianni Schicchi, but it was fresh: quite slow, each word considered, unaffected in delivery. An aria from a second American opera followed: Cameron Barclay sang Martin’s Song from Copland’s The Tender Land, managed its difficult line, awkward intervals, competently though there were disquieting moments; he did well. Daniel O’Connor returned to sing Billy Budd’s lament: ‘Look, through the port’. The very first notes grabbed the audience’s sympathy, speaking of his command of its singular, unimaginable anguish, with clarity and studied care with every word, and immaculate intonation. Here Greenfield’s playing was particularly valued.

Jamie Young had difficulty matching Billy Budd with his ‘Una furtiva lagrima’ from L’elisir d’amore: his demeanour and vocal delivery were a little stiff and unsteady, though the voice has a basic attractiveness and range. Don Giovanni reappeared as vehicle for another ensemble: the minuet which cover’s the Don’s first attempt on Zerlina’s (dubious) virtue at the end of Act I. Alexandra Ioan’ as Zerlina and Kieran Rayner as Masetto, the Don blatantly laying the blame on Leporello. It ended the first half on a high.

As the evening wore on the ‘Sun, Moon and Stars’ changed places and were illustrated by pieces that used the heavens to symbolize human conditions.

As a result of media attention the first singer in the second half sparked a certain excitement: counter-tenor Stephen Diaz had become the talk of all at the school, not so much as the first counter-tenor in the school’s history, but more particularly on account of the sheer quality of his voice. ‘Ombra mai fu’ was preceded by its recitative, ‘Frondi tenere’ in which there was an initial slip, but by the third bar, the audience knew that the rumours were well-based. Not only did he handle the stage demands of this curious opening piece to Serse, sitting on the floor, his back against a leg of the piano, but there was a beauty and naturalness in the voice that spoke of musicianship of high quality. His voice is both strong, penetrating and expressive, and able to command a wide dynamic range and an already wide range of colour.

Diaz did not leave the stage but stayed to watch the next singer, Olga Gryniewycz who sang the Hymn to the Sun from Rimsky-Korsakov’s The Golden Cockerel; the link(?), I suppose, through its setting in the fantastic world of Russian fairytale, that is, generally south-east of Moscow, in Xerxes’ part of the world.

Gryniewycz is a bright, sparkling little soprano with a very high vocal extension who attracted attention in Handel’s Semele last year. This aria suited her well, though there was little substance in her high notes and unresolved vocal problems are still audible. But here was a vivid actress with excellent Russian and good musicianship.

Another famous Slav opera followed: Dvorak’s Rusalka – the Song to the Moon, sung by Rachel Day. Her voice is accurate, a sound, conventional soprano with agreeable warmth at the bottom of her range; she used striking facial expressions to suggest the curious nature of her dilemma.

Mimi’s ‘Si, mi chiamano Mimi’ seemed connected to the heavens only dimly. However, she sang well, if a little loud towards the end: a somewhat unlikely Rodolfo was on hand to supply a clinch as she finished.

Then came ‘Promises, Promises’, beginning improbably with Hamlet’s non-Shakespearean invocation to wine (‘O vin, dissipe la tristesse’) as the means to rid his heart of grief at Ophelia’s death: in the 1868 opera by Ambroise Thomas with librettists Barbier and Carré. French companies are unearthing such neglected works and Kieran Rayner, with a well-schooled voice and natural stage presence, presented an excellent case for this one, waving a wine bottle about the while.

The second promise also derived from Shakespeare, but even more tenuously. Thomas’s opera took serious liberties with Shakespeare’s Hamlet. Bellini’s librettist committed no such offence with Romeo and Juliet; Felice Romani (who probably wrote more libretti for the great operas of Rossini, Donizetti and Bellini than anyone else) simply went back to the same 16th century Italian romance that Shakespeare himself had indirectly borrowed from, and further distanced himself by calling it I Capuleti e i Montecchi. The soprano here in the role of Giulietta was Alexandra Ioan singing the popular aria ‘O! Quante volte’; she can act and she looked the part of the delicious young teenager that the young Capulet presumably was; every word, delivered quite slowly, was carefully placed, filled with meaning as well as emotion.

Don Ottavio is usually seen as an ineffective, quailing avenger of the dishonouring of his betrothed, Donna Anna, given instead to sententious, chivalric speeches. Michael Gray had the job of investing his promise of vengeance with conviction; his voice had the right quality, a baritonal flavour that allowed one to discover a little more grit in his vow; he produced some fine pianissimo notes too.

The final bracket was entitled ‘Lovers’ Tryst’, a rather miscellaneous group ranging from Federico’s Lament in Cilea’s account of the same Daudet play that Bizet wrote incidental music for (L’Arlesiana). Andrew Grenon had all the requisites: good stage presence, an attractive voice that he used expressively and under good dynamic control.

Amelia Berry chose one of the classics of 20th century opera, Korngold’s Die tote Stadt, based on a novel called Bruges-la-morte. Marietta’s Song reflects the small-time decadence of post-WWI Austria, a story of obsessive mourning mainly portrayed through the dream of the protagonist. Amelia’s voice was an impressive vehicle in the role, pure and even and rich in the upper register. She seemed transfixed by the words she was singing, just as the audience was.

The only excerpt from The Magic Flute in the concert was Tamino’s salute to the picture he is presented of Pamina, ‘Dies Bildnis…’. Bonaventure Allen Moetaua, whose good tenor voice has more than a little baritone character, took it slowly though at a rather unvarying forte.

Polly Ott was a finalist in the 2009 Lexus Song Quest and brought the evening to a close with the best-known aria from Donizetti’s Linda di Chamounix, ‘O luce di quest’anima’. She re-created Linda, a pretty peasant girl with a sweet, little girl’s voice, accurate, agile, reaching, not without some thinning, to some notes above top C. It was a beguiling performance that the audience loved.

Six accompanists shared the work: Greg Neil, David Kelly, Bruce Greenfield, Mark Dorrell, Francis Cowan and Iola Shelley.

Rites of Exultation – The Bach Choir of Wellington

Posted on by Peter Mechen

PURCELL – Come, Ye Sons of Art

HANDEL – Coronation Anthems

Pepe Becker (soprano)

Andrea Cochrane and Katherine Hodge (altos)

Kieran Rayner (bass)

The Chiesa Ensemble (Leader, Rebecca Struthers)

The Bach Choir

Stephen Rowley (conductor)

St Andrew’s on the Terrace, Wellington

Sunday, 13th December 2009

What a tonic after reading the Sunday newspapers to go to such a concert! Here we had music by two of the greatest of all composers bent on celebrating all that’s gracious, noble and glorious about the idea of royal rule, transcending all the all-too-human preoccupation with aspects of human foible, such as scandal, gossip and intrigue, and setting the monarchy itself upon high with tones whose beauty, energy and magnificence ennoble the state of kings and queens. In each composer’s case the music that was produced spoke for the ordinary person, giving tongue to his or her feelings concerning the pride and righteousness of being a much-loved monarch’s subject.

The concert began with Henry Purcell’s Birthday Ode for Queen Mary of 1694, the last of six odes he wrote for a popular monarch, who was to tragically die of smallpox within eight months of the composer writing this final paean of praise for her – Purcell could not have forseen at the time that he would shortly be writing the Funeral Music for his Queen, or that the same music would be performed less than a year later at his own funeral. The words, whose authorship is doubtful (though some think it could be Nahum Tate, who wrote the libretto for Purcell’s most famous opera “Dido and Aeneas”, and the previous year’s birthday ode for the Queen), evoke the spirits of music to celebrate the queen’s birthday – her fondness for music would presumably have inspired Purcell and his librettist to couch their praises for her in the most metaphorically musical ways, a wide range of  instruments giving tongue to joy, celebration and praise – “Strike the viol, touch the lute, wake the harp, inspire the flute!”

Purcell was able to transcend the somewhat earthbound quality of the verses with energising phrasings and rhythms that lift the commonplace up into the realms of great art: The words “Come, ye sons of art, away, tune all your voices and instruments play, to celebrate this triumphant day” when set by Purcell, become a mellifluously-constructed ode to a friend and patroness of music, immortalising her in the process. Before the verses appear, the composer gives us a full Italian-styled three-part sinfonia, concluding with a grave adagio that serves to highlight the solemnity of the occasion and throw into relief the joyousness of the invocations to Art and Music to follow. Purcell’s librettists for these works were not great poets, apart from Sir Charles Sedley, who wrote the verses for the fourth Ode of 1692, Love’s goddess sure was blind. The satirist Thomas Brown, recognising this, wrote the perceptive lines “For where the author’s scanty words have fail’d / Your Happier Graces, Purcell, have prevail’d”.

The playing of the Chiesa Ensemble, led by Rebecca Struthers, was splendid at the outset – strings and trumpets set the scene with bright, shining tones and energised phrasings that brought the music nicely to life – conductor Stephen Rowley chose tempi that allowed phrases to be savoured by the players, whose momentum was generated by dint of accent and phrasing rather than merely speed. After the solemn adagio alto Andrea Cochrane surprisingly took the pulpit for “Come Ye Sons of Art”, placing her alongside the back rows of the choir – a miscalculation, I thought, as she should have been far further forward (in the front, next to the conductor) and more immediate-sounding. She sang very beautifully, but her invocation to the “Sons of Art” had insufficient power and persuasion, due to her backward placement. Similarly, both she and Katherine Hodge were further disadvantaged in “Sound the Trumpet”, not only backwardly-placed, but distanced from the continuo instruments (Eleanor Carter’s ‘cello and Douglas Mews’ harpsichord) who were providing the rhythmic trajectories of the music with such buoyancy. Both singers sang beautifully, blending and dovetailing their tones nicely, and keeping nicely in touch with their instrumentalists; but both of their rather soft-grained voices needed all the forward projection that was available to them, in order to sound the clarion calls that Purcell surely intended.

Having more brightly-focused and strongly-projected tones, both soprano Pepe Becker and bass Kieran Rayner were able to realise more successfully  the more “public” aspect of the Ode.  Kieran Rayner’s declamations sonorously encompassed all but the highest notes without a hint of strain – the  words “Grant, oh grant, and let it have the honour of a jubilee” in particular were clearly and splendidly hurled forth. And the aria “These are the Sacred Charms” was marked by more mellifluous singing from the bass, a momentary voice-slip towards the end apart.  Pepe Becker’s singing of “Bid the Virtues”, in duet with the oboe, while paying less attention, I thought, to word-painting than to the production of beautiful tones, realised some lovely moments, among them a beautifully-arched “Blessing with returns of prayer, their great defender’s care”. Again, I think the backward placement of the singers robbed the words of some of their expression, rather generalising the solo voices’ effect (not that the poetry was anything to write home about, but even the most banal words can be transformed by settings of genius, as here). Soprano and bass shared the festive splendour of the final verse-settings “Thus Nature, rejoicing” with rich and noble tones from all concerned, the timpani flourishes at the end capping off the celebratory effect in fine style.

Handel’s Coronation Anthems, written for the Coronation of King George II and his Queen Caroline in 1727, have proven among the most durable of his works, used in coronation ceremonies of monarchs since then, and regarded as epitomising the composer’s most public and grandiloquent manner. Of course, the music was written for performing in Westminister Abbey, and as such deals in broad brush-strokes of sound, written for maximum public effect. With a choir of fifty voices and instrumentalists numbering in excess of a hundred and fifty, that first performance must have made a splendid noise! St.Andrew’s in Wellington is certainly no Westminster Abbey, but the effect when the Bach Choir’s voices took up the opening words of “Zadok the Priest’ was scalp-prickling. There was a nice sense of processional about the instrumental introduction, Stephen Rowley’s tempi both here, and in the more vigorous “God Save the King” section which concludes the anthem, I thought perfectly judged to bring out the music’s spacious grandeur, allowing the players to put real point and “girth” in their phrasing.

The second anthem, “Let Thy Hand be Strengthened” saw oboe and strings bring a pleasing variation of colour to the music, the singing nicely “rounded” in effect, not perhaps especially pointed, but entirely lacking any mannerism of emphasis or articulation. The minor-key mood of “Let justice and judgement” was allowed all its deep-hued gravity, unfolding and breathing naturally, while the “Alleluias” at the end had plenty of spring and energy. In the next anthem “My Heart is Inditing” I wanted a bit more “spring” from the voices in their opening passagework, something of the kind that was readily provided by the oboes in similar passages throughout. I liked the sopranos’ emphasis on the word “inditing” in their vocal line, something which energised and personalised the words’ delivery. Again, Stephen Rowley managed a tempo at “Kings daughters” which allowed the phrasings of the music to set the rhythmic trajectory of the whole, and again brought out the loveliness of the soprano voices, an effect that was also noticeable, in tandem with the oboes, at “Upon thy right hand”. With the final “Kings shall be thy nursing fathers”, the brass and timpani again came into their own, as they did in the final anthem “The King Shall Rejoice”. Perhaps the concluding “alleluias” were a shade too fast for the choir’s comfort, the voices striving to keep with the conductor’s beat and with the playing of the orchestra – but the effect overall was of great exhilaration and a marvellous sense of occasion, which is what we got, and was, surely, what the composer intended!

Wendy Dawn Thompson (mezzo-soprano) and friends at St Andrew’s

Posted on by Lindis Taylor

Opera arias and songs: Handel, Strauss, Mahler, Brahms, Mozart and others

Emma Sayers (piano) plus Amelia Berry and Bianca Andrew (sopranos), Michael Gray (tenor), Matthew Landreth (baritone). Presented by the New Zealand Opera Society (Wellington Branch)

St Andrew’s on The Terrace, Saturday 12 December 2009

This was to have been a showcase for Wendy Dawn Thompson, with the support of two younger singers Amelia Berry and Matt Landreth. But because Wendy was ailing (she had to cancel a Messiah a few days before) it was decided to reduce her load by the inclusion of a couple of other singers. They were Bianca Andrew and Michael Gray.

It made a concert of greater variety even if we were deprived of more singing by the main star.

Wendy opened the evening with ‘Ombra mai fu’, Handel’s Largo (actually marked ‘Larghetto’) from Serse (Xerxes), handling the Persian King’s castrato role in a rich, almost fruity voice, for some tastes perhaps a little too heavy with vibrato; no doubt it was a symptom of her ailment. Her higher notes were warm and clear however. She followed it with ‘Behold, … O Thou that tellest’ from Messiah, which revealed a somewhat clearer performance. The rest of her offerings came in the second half of the concert: four Strauss lieder, all love songs of different characters. Gefunden, innocence and simplicity in a Goethe lyric in which a plant symbolizes the poet’s resolve to ensure his love’s survival by digging it up carefully and planting it in his garden. Nachtgang, mildly salacious, and Heimliche Aufforderung which approached R18, Wendy sang with nicely varied timbres and delicate dynamic control. Morgen was the best known song: Emma Sayers’s introduction, as delightfully coloured as throughout, announced a languid tempo with suggestive, expectant pauses with the subtle phrasing that all her performances displayed.

Amelia Berry sang two Mahler songs from his Rückertlieder. They showed some signs of unevenness of tone and occasional suspect intonation, but her voice is attractive and her dramatic talent (I last head her in the title role in the New Zealand School of Music’s production of Handel’s Semele mid-year) a clear asset.  She sang ‘Ruhe sanft’ from Mozart’s Zaïde (which I also heard her sing at the Wellington Aria Competition in August). She brought to it a good feeling for its warm lyricism though the high notes taxed her somewhat. She made a good fist of Baïlero too. In both songs one competes with particularly beautiful recorded renderings, not least by Kiri Te Kanawa: they colour ones impressions though they shouldn’t.

Here, as throughout the programme I found my ear caught by the beautiful, piano playing of Emma Sayers, creating vivid, contrasting orchestral colours in different parts of the keyboard.

Amelia’s last song was ‘Chi il bel sogno di Doretta’ from La Rondine; it wasn’t clear to me what happened at the beginning as she twice broke off to start again after a couple of bars. Much of it lies high and her voice thinned on those notes; though, as with the Mozart and Canteloube pieces earlier, there was a real feeling for the idiom.

Bianca Andrew also sang in Semele, as Ino. She opened her bracket with Cherubino’s aria, ‘Non so piu’, from The Marriage of Figaro, giving full rein to her character’s unruly hormones, with open agitation in her voice. Pastoral calm followed with The Sally Gardens in Britten’s arrangement, two Brahms lieder – Liebestreu and ‘Wir wandelten’. She sang them with an easy charm, occasionally resting her arm on the piano lid, handling the phrasing comfortably; they suited her voice excellently. And though she sang the Habanera from Carmen musically, she didn’t quite capture its dangerous sexuality.

Michael Gray opened his selection with Tosti’s La serenata, confident and polished, though not especially Italianate in character. Britten’s Holy Sonnets of John Donne on the other hand were sung with a sure instinct for their idiom and the poetry; his performance might have erred in the sense of dramatic feeling and emphasis, but for me, who doesn’t warm particularly to this sort of Britten, his performance, with its clear articulation, became meaningful.

In the opera, Don Ottavio’s ‘Il mio tesoro’ seems to hold up the drama, but Gray made a great deal of it.

Matthew Landreth’s share of the evening opened with Lilburn’s cycle of six songs, Sings Harry. (incidentally, there are 12 poems in Glover’s sequence as published in the 1971 edition of Enter without knocking, counting as one the three parts of Songs – ‘These songs will not stand’; if you want to refresh your acquaintance with Glover, look at Gordon Ogilvie’s full-blooded entry in the Dictionary of New Zealand Biography – accessible on the Internet).

Both the colour of his very natural baritone (never mind they were written for tenor) and his instinctive feel for the songs made their performance a delight. The skill of a poetry reader in ‘When I am old’, a deeply nostalgic ‘Once the days were clear’, and those quintessential Glover lines ‘For the tide comes and the tide goes and the wind blows’ he articulated as movingly as anyone I have heard.

Landreth made an effortless job of ‘O du mein holder Abendstern’ from Tannhäuser, with fine pianissimo control; but was not quite as comfortable in ‘Se vuol ballare’.

This concert didn’t draw the audience it deserved, both on account of Wendy Dawn, or of the four others, or the splendid pianist or the intrinsic delight of the happily haphazard programme.

Wellington Chamber Orchestra – family connections

Posted on by Peter Mechen

ANTONIN DVORAK – Serenade for  Winds in D Minor Op.44

TABEA SQUIRE – The Suneater – for Recorders and Strings

HELMUT SADLER – Concertino for Recorders and Strings

JOSEF SUK – Symphony in E Major Op.14

Wellington Chamber Orchestra

Soloists: Members of the Recorders and Early Music Union

Conductor: Gregory Squire

St.Andrew’s on the Terrace, Wellington

Sunday 6th December, 2009

Family ties involving both composers and performers were brought into play through this concert – firstly, on the strictly compositional front, works by both Antonin Dvorak and his son-in-law Joseph Suk featured on the programme; while Wellingtonian composer Tabea Squire’s commissioned work “The Suneater – for Recorders and Strings” received skilled and committed advocacy from musicians whose ranks included both of her parents, conductor Gregory Squire and leader of the Recorders and Early Music Union, Katrin Eickhorst-Squire. I was interested in the conductor’s (and, presumably, the orchestra committee’s) decision to play Tabea Squire’s new work TWICE on the programme – while it seemed a laudable thing to do for a new piece, helping the audience to take in so much more of the work’s essence on a second hearing, one would hope that Greg Squire would want to extend such advocacy to all new music he conducts. His enthusiastic and engaging spoken introduction to the work emphasised the importance of repeated hearings to the understanding of any unfamiliar music – by way of example he amusingly quoted his first encounter as a student with Brahms’s First Symphony.

However, it was not Brahms, but his great contemporary, Dvorak, whose music opened the orchestra’s programme, the Serenade for Winds, Op.44. This was a work which obviously represented another formative musical experience for the conductor, who described the prospect of directing the piece as akin to a dream come true. Something about this piece truly engages people – the friend I happened to be sitting next to in the audience bent over and whispered to me “This is my funeral music” just as the piece was about to begin! It’s certainly a most lovable work, one which the Chamber Orchestra wind players (helped by a ‘cello and double-bass) relished with delight, digging into the dotted rhythms of the opening with great enthusiasm and managing some nice dynamic variation through the lead-back measures (lovely clarinets in thirds, nicely answered by horns) to the opening’s return. The second movement (a trifle fast for the players’ articulation at the outset) deftly pointed the contrast between the lyrical opening and the scherzo-like trio section scamperings, even if some of the instrumental solos had treacherous twists, and the tricky rhythmic dovetailings at the end of the scherzo-episode fully stretched the group’s capabilities as an ensemble.The players got a lovely colour at the slow movement’s beginning, horns, bassoons and strings laying down a rich carpet of sound on which the individual solos could be floated; and while there were smudged instrumental lines in places, ensemble was good and the overall feeling was right. A good, strong and forthright opening set the finale on its way confidently, and even if the ensemble subsequently lacked the sheer weight of tone to bring to bear to the growing excitement of the rhythms and exuberance of the fanfares at the end there were heartwarming moments, the most engaging being at the recapitulation of the work’s very opening, sturdily and strongly played.

Tabea Squire’s work for recorders and strings was inspired by Keri Hulme’s iconic novel “The Bone People”, in which story appears a “Suneater”, an idiosyncratic device made of wires, mirrors and crystal which spins when placed in the sun, and which is accidentally broken by its maker. Further inspiration for the composer came from various world mythologies that have developed “sun-eating” stories explaining the oscillations in nature between darkness and light. The music explored a range of colours and hypnotic rhythms which suggested these processes. Right from its eerie Aeolian-harp-like opening on strings, through exchanges both throaty and piping-like with various recorders, the piece unerringly evolved a strongly-wrought atmosphere, somewhat reminiscent of Holst’s “Neptune” in places. I liked the oscillations between rich strings and more astringent winds, which moved the sounds away from such remote “unknown region” ambiences and into more volatile and interactive realms. The intensely “breathy” effect of the recorders gave the last section an almost primitive feel, the instruments’ earthy,  “wrong-note” harmonies moving the sounds as a block out and away from the string ambiences, like a separation of disparate elements, each to their own realms. A second playing of the piece focused these thoughts concerning union and dissolution even more strongly, though I found it was interesting how uniquely “charged” the first performance felt, compared with the repeat, when things simply sounded “different” – everything with more focus a second time round, but less ethereal and magical in effect.

Helmut Sadler’s pleasant but largely unremarkable Concertino for Recorders and Strings filled in an entertaining quarter-hour’s listening, from the “Walk in the Black Forest” aspect of the opening movement, with its out-of-door, almost cinematographic ambiences, and rumbustious attention-seeking tones from the massed recorders, through some quasi-exotic harmonisings in attractively ritualised marches and processionals (some lovely, sensitive solo and ensemble work from the wind players) to a final agitato movement, whose slower middle section was marred by some poor wind tuning, but whose livelier sections were well-upholstered by the strings and deftly negotiated by the “group of soloists”.

The family circle aspect of the concert was completed by the orchestra’s performance of Josef Suk’s Symphony in E Major, an early work, in many ways indebted to the influence of Dvorak, who was Suk’s teacher as well as becoming his father-in-law, but with many original and beautiful touches. As this was the only full orchestral outing of the afternoon for the players they made the most of things, and gave the performance all they had. Before the performance Greg Squire spoke of the composer’s later, darker works, such as the Asrael Symphony, written in the wake of the deaths of both Suk’s father-in-law and his wife, and emphasised by comparison the relatively sunny nature of the earlier symphony. The playing was marked by some lovely solo work in places – a single horn at the start, the clarinet introducing the second subject – and Greg Squire asked for and got great rolling cascades of sound in places, strings capped by festive brass, triumphant and buoyant. Similarly, for the slow movement, my notes read “lovely solos from clarinet and oboe, rich string accompaniments, playing captures the music’s volatility – everything full-on…” The orchestra realised plenty of the scherzo’s dancing energy and spirit, with only the trio section sounding less happy due to some string-intonation lapses.  As for the finale, although too long (the composer’s exuberance getting the better of his judgement with too many episodes and climactic denouments) Greg Squire’s and his orchestra’s concentration never flagged, keeping the narrative well-paced and nicely detailed. There were some tricky exposed passages for strings that sounded uncomfortable for the players at one or two purple points, but more importantly, the epic sweep of the music was conveyed to us in as full-blooded a manner as was required.

Messiaen’s La nativité du Seigneur from organist Richard Apperley

Posted on by Lindis Taylor

Cathedral of St Paul, Wellington, Friday 4 December 2009

This was the third year that Anglican Cathedral has presented Messiaen’s Christmas celebration on the big organ. Though it didn’t draw as big an audience as Messiah a week earlier at the other cathedral, the Happy Few enjoyed a commanding and brightly coloured account of Messiaen’s early masterpiece. It was written in the year of my birth, though I was much older that he was at its composition (28) when I first got to know Messiaen – probably over 40.

Though the organ at St Paul’s is capable of producing the characteristic sounds of the English organ, it is strong in vivid brass and treble woodwind stops, well adapted to the qualities of post-Romantic French organ music, and it was these that attracted Richard Apperley in the performance.

This characteristic was vividly heard at the start of the first piece, La vierge et l’enfant, opening with trembling, tiny, bell-like sounds, conveying the dim, cold atmosphere of the wintery manger. And Desseins éternels, with the presence of constant underpinning of deep pedal notes, Apperley again depicted a subdued feeling of awe, of the divine mystery.

It was with Le Verbe that the organ first expressed itself in bolder diapason sounds, though after a mere three minutes or so, Messiaen offers a musical version of the Word, employing the cornet stop in gentle, meandering lines, over obscure pedal harmonies. 

Apperley’s penchant for piercing treble registrations emerged again in Les Anges, culminating in an imagining of angels fluttering their wings.

From that, the ugly descent to Jésus accepte la souffrance, was a remarkable experience, with fearful, heavy pedals treading out Christ’s three burdens of suffering.  

I have been familiar with Marie-Claire Alain’s recorded performance (among others); the motion of a swaying procession of the Magi to be found in her playing makes it one of the most singular episodes; I did not feel quite that effect in Apperley’s playing. While his registrations were brighter, he nevertheless captured the sense of mystery, of being drawn towards something of which the wise men have only an uneasy premonition.

The last part, Dieu parmi nous, always seems a most remarkable creation, with its feeling of chaotic mingling of many elements, sparkling, fast-fingered joyousness, toccata-like episodes; Apperley distinguished himself here through the vivid contrasts he presented on different manuals, loud, penetrating stops riding over a subdued murmuring background, and the series of Bachian chordal passages, eventually building to a growing ecstasy with the series of teasingly unresolved chords that creates the kind of organ peroration that seems fundamental to the French school and to the French flair for dramatizing religious experiences. It was fully realized in this brilliant performance.