|
CHORAL MUSIC REVIEW
Ambitious Joint Concert November 18, 2001
|
By Ching Chang
The Oakland Symphony Chorus and the Young People's Symphony Orchestra joined
forces this past weekend for a concert entitled "Songs of Lamentation and
Hope" at Oakland's First Congregational Church. As if the pairing of these
two ensembles didn't seem improbable enough, the unlikely selection
anchoring the concert was Mendelssohn's great Die erste
Walpurgisnacht, a rarely-performed symphonic cantata set to dramatic prose
by Goethe.
Mendelssohn's brilliant-but-unwieldy nine-movement secular cantata takes the
listener on a most impressive sonic ride, graphically rich and clearly
operatic in its dramatic scope. Historically credited with having inspired
Berlioz to compose La Damnation de Faust, Die erste Walpurgisnacht depicts in Goethe's vivid narrative the pagan May Day rituals, representing the peak of spring, as a defensive strategy against the conquering Christians.
This work would tax the resources of even the best-prepared
professional groups. Led by David Ramadanoff, the Oakland Symphony Chorus
(prepared by Magen Solomon) and the Young People's Symphony (a training,
student orchestra) went well beyond the call of duty to present a creditable and exciting reading of this piece. For a symphonic choir nurtured mainly on traditional choral music and the choral/orchestral staples, the Oakland
Symphony Chorus outdid itself as an operatic ensemble — not only in the
fresh vitality of its overall sound but also in delivering the fiery
interjections and hair-raising howls against the crashing cymbals in the
climactic sixth movement.
Despite occasional missed notes and lack of precision, the youthful orchestra players delivered a reading of surprising maturity. From the pictorial realism of the opening storm to the chaotic nocturnal confrontation, to the blazing final sunrise, the work's large architecture was well sketched, and its poignancy illuminated. The ensemble string sections were particularly impressive. Unfortunately, the vocal soloists portraying various nameless assignments proved to be unremarkable and miscast. The concert opened with Brahms' choral lament Nänie, led by Solomon. The work might have been beyond the emotional grasp of the orchestra's young players but one suspects that the reading suffered largely from the conductor's chunky, episodic approach. This lessened the sense of continuity as well as the heart-wrenching effect of Brahms' misty-eyed modulations. Similarly, in Verdi's Stabat Mater, which followed, a much-needed sense of repose was lacking, particularly after the score's vigorous climactic sections. With charged polyphonic responses, subdued religious fervor, chilling judgment-day trumpet calls and blissful redemption, Verdi's setting of the Stabat Mater offers passages of striking resemblance to the composer's great Requiem, yet Solomon seemed adamant in her refusal to yield to an organic, well-proportioned measure of rubato, thus robbing the reading of some of its dramatic contrasts and vitality. The Mendelssohn stood out as the principal work and reward; Die erste Walpurgisnacht was revealed as an exciting work, clearly deserving more exposure. (Ching Chang is a contributing writer to several publications, including the SF Gate, SF Bay Times and Opera News. He writes a monthly column on classical music and opera for the SF Gate's eGuide www.sfgate.com/eguide) ©2001 Ching Chang, all rights reserved |
