For a work of its vast scope and profound subject, Beethoven's Missa Solemnis seemed surprisingly tame in Tuesday night's performance at Carnegie Hall. The Boston Symphony Orchestra did play with great warmth and beauty of tone. The woodwinds contributed especially lovely work, and the vibrant trumpet fanfares, and the exquisite violin solo of the "Sanctus" (taken by Malcolm Lowe) were also noteworthy. There was, however, what I perceived as a lack of dramatic impetus, with the movements of the Mass blending into each other with great elegance, but little contrast of mood. More emotional engagement and dynamic nuance came from the Tanglewood Chorus, who were superb throughout. Their sound was thrilling, their diction incisive (and they sang from memory.) It is perhaps relevant to note that John Oliver, who led the combined forces in place of an indisposed Kurt Masur, had (presumably) significantly more rehearsal time with the latter ensemble than the former.
Showing posts with label Simon O'Neill. Show all posts
Showing posts with label Simon O'Neill. Show all posts
Wednesday, March 7, 2012
Missa Solemnis: BSO at Carnegie Hall
For a work of its vast scope and profound subject, Beethoven's Missa Solemnis seemed surprisingly tame in Tuesday night's performance at Carnegie Hall. The Boston Symphony Orchestra did play with great warmth and beauty of tone. The woodwinds contributed especially lovely work, and the vibrant trumpet fanfares, and the exquisite violin solo of the "Sanctus" (taken by Malcolm Lowe) were also noteworthy. There was, however, what I perceived as a lack of dramatic impetus, with the movements of the Mass blending into each other with great elegance, but little contrast of mood. More emotional engagement and dynamic nuance came from the Tanglewood Chorus, who were superb throughout. Their sound was thrilling, their diction incisive (and they sang from memory.) It is perhaps relevant to note that John Oliver, who led the combined forces in place of an indisposed Kurt Masur, had (presumably) significantly more rehearsal time with the latter ensemble than the former.
Sunday, January 23, 2011
O Schönheit: Mozart and Mahler with the Met Orchestra
In contrast with my usual last-minute habits, I bought a ticket for this afternoon's concert over a month in advance, eager to have a chance to see the Metropolitan Opera orchestra fully in the spotlight. I was not disappointed. The first and second halves were a study in contrasts: Mozart's Posthorn Serenade (officially Serenade in D minor, K. 320) was a graceful celebration of an ordered world. Mahler's Das Lied von der Erde, in a blisteringly intense performance, extolled the courage to live fully in the face of the temptation to live blindly, in a world teetering wildly on the brink of chaos.
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