SCO, 10/05/2019
Fauré : Requiem
Berlioz : Symphonie fantastique
Brigitte Harrigan Lees, treble
Rudolf Rosen, baritone
SCO Chorus
Scottish Chamber Orchestra
Emmanuel Krivine
This was an unusual pairing, Fauré's restraint set against Berlioz's complete lack of same, and the concert beginning with a work that usually ends concerts, though, of course, it had to be, because there's absolutely nothing that can come after the Fantastique and not be crushed by its glorious extravagance.
The version of the Requiem given was the final, 1901 version, for full orchestra. That said, Fauré kept the muted colours of his earlier versions, the violins being used sparingly, and the brass hardly at all. Against this dark-hued background, the transparency of the chorus's singing gleamed beguilingly. The SCO Chorus was on excellent form, exceptionally clear, responsive to the dynamics, the Latin text perfectly comprehensible. Rudolf Rosen was a trifle too operatic in his delivery for this music, and at the start of the Offertory, inclined to linger a shade more than the conductor wanted, but the voice, full and bronze-timbred, is attractive.
Krivine chose a girl treble for the Pie Jesu; I have to say I wasn't too impressed with the result. If you're going to use a treble, it should be a boy, the sound is quite different, and in any case, if you're performing the concert version, and using a standard, adult SATB chorus, then you might as well use a full soprano soloist. In any event, Lees was thin-voiced and expressionless, the music did not seem to mean much to her. And in the end that was the overall impression of the performance as a whole. However good the chorus, however stylish the orchestral contribution, there were only brief moments in which the spiritual heart of the piece was revealed, and the rest was a pretty, but empty package.
The Symphonie fantastique certainly pushes the envelope on what the SCO can actually perform, physically (although I don't think I've ever seen a performance, from any orchestra, with the nine double-basses Berlioz asks for!). With slightly smaller forces, however, and in a concert hall with very good, clean acoustics, a level of detail can be revealed that's a real pleasure to hear, particularly in a score this complex and enthralling.
To begin with, Krivine was able to set tempi markedly on the fast side, though never too much so, imparting a strong level of vitality throughout the piece, and especially effective in the first movement, with its evocations of a palpitating heartbeat, and in the third, where over-use of pregnant pauses can bring the movement to a near standstill, thankfully avoided here. Then the waltz was perfectly judged; I've rarely been more aware of the direct link to Ravel's La Valse, for the two pieces dance deliriously on the edge of the abyss - not the same abyss, certainly, but the sense of danger is equally strong.
From start to finish, the standard of playing was remarkable, in all sections, but perhaps especially in the strings, alive to every nuance, playing with perfect ensemble, immediately responsive to Krivine's requirements, particularly in terms of the dynamics, with a fully realised palette, from whisper-soft to thunderously loud, wonderful to experience. I've said here before that I'm not a fan of Krivine. The Fauré more or less matched my expectations, but the Berlioz was a revelation. For the first time, I was hearing something that completely justified his reputation, because this was an outstanding performance, a technical tour-de-force from the orchestra, but also a fully-realised aesthetic, artistic interpretation of the highest order. Berlioz might have grumbled that there weren't enough players on stage, but when those present played this well, I doubt he would really have been displeased.
[Next: 11th May]
Berlioz : Symphonie fantastique
Brigitte Harrigan Lees, treble
Rudolf Rosen, baritone
SCO Chorus
Scottish Chamber Orchestra
Emmanuel Krivine
This was an unusual pairing, Fauré's restraint set against Berlioz's complete lack of same, and the concert beginning with a work that usually ends concerts, though, of course, it had to be, because there's absolutely nothing that can come after the Fantastique and not be crushed by its glorious extravagance.
The version of the Requiem given was the final, 1901 version, for full orchestra. That said, Fauré kept the muted colours of his earlier versions, the violins being used sparingly, and the brass hardly at all. Against this dark-hued background, the transparency of the chorus's singing gleamed beguilingly. The SCO Chorus was on excellent form, exceptionally clear, responsive to the dynamics, the Latin text perfectly comprehensible. Rudolf Rosen was a trifle too operatic in his delivery for this music, and at the start of the Offertory, inclined to linger a shade more than the conductor wanted, but the voice, full and bronze-timbred, is attractive.
Krivine chose a girl treble for the Pie Jesu; I have to say I wasn't too impressed with the result. If you're going to use a treble, it should be a boy, the sound is quite different, and in any case, if you're performing the concert version, and using a standard, adult SATB chorus, then you might as well use a full soprano soloist. In any event, Lees was thin-voiced and expressionless, the music did not seem to mean much to her. And in the end that was the overall impression of the performance as a whole. However good the chorus, however stylish the orchestral contribution, there were only brief moments in which the spiritual heart of the piece was revealed, and the rest was a pretty, but empty package.
The Symphonie fantastique certainly pushes the envelope on what the SCO can actually perform, physically (although I don't think I've ever seen a performance, from any orchestra, with the nine double-basses Berlioz asks for!). With slightly smaller forces, however, and in a concert hall with very good, clean acoustics, a level of detail can be revealed that's a real pleasure to hear, particularly in a score this complex and enthralling.
To begin with, Krivine was able to set tempi markedly on the fast side, though never too much so, imparting a strong level of vitality throughout the piece, and especially effective in the first movement, with its evocations of a palpitating heartbeat, and in the third, where over-use of pregnant pauses can bring the movement to a near standstill, thankfully avoided here. Then the waltz was perfectly judged; I've rarely been more aware of the direct link to Ravel's La Valse, for the two pieces dance deliriously on the edge of the abyss - not the same abyss, certainly, but the sense of danger is equally strong.
From start to finish, the standard of playing was remarkable, in all sections, but perhaps especially in the strings, alive to every nuance, playing with perfect ensemble, immediately responsive to Krivine's requirements, particularly in terms of the dynamics, with a fully realised palette, from whisper-soft to thunderously loud, wonderful to experience. I've said here before that I'm not a fan of Krivine. The Fauré more or less matched my expectations, but the Berlioz was a revelation. For the first time, I was hearing something that completely justified his reputation, because this was an outstanding performance, a technical tour-de-force from the orchestra, but also a fully-realised aesthetic, artistic interpretation of the highest order. Berlioz might have grumbled that there weren't enough players on stage, but when those present played this well, I doubt he would really have been displeased.
[Next: 11th May]