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November 5, 2012

Classical concert round-up: NSO's 'Missa Solemnis,' Poulenc Trio, Europa Galante

The last several days have been something of a blur, running from performance to performance (or portions thereof), leaving me little time to pontificate about them. I will try to make up for some of that now.

Let me concentrate here on the classical concerts I caught during this particular whirlwind, which started with the National Symphony Orchestra's presentation of Beethoven's epic "Missa Solemnis" Thursday night at the Kennedy Center.

This piece tends to divide listeners, even those who consider themselves major Beethoven fans. OK, so it is a bit unwieldy, long-winded and theatrical (Verdi isn't the only one who can be accused of writing an opera in the guise of a liturgical work). But count me among the believers.

I think even skeptical types might have been tempted to convert after experiencing the NSO's account with music director Christoph Eschenbach on the podium, and featuring the superb Choral Arts Society of Washington (Scott Tucker director) and vivid, well-matched soloists.

The soulful power of the "Missa Solemnis" could be felt at every turn, along with ....

 

the many features in the score that point the way to Beethoven's Ninth Symphony.

Eschenbach, who has something of the mystic about him, burrowed into the score with contagious devotion. He unleashed truly explosive power in the most dramatic passages, such as the opening rush of the Gloria, and the emphatically hammered outbursts of "Amen" in the Credo.

When the music turned inward, Eschenbach ensured poignant results. He lavished care on dynamics and phrasing at the start of the "Et incarnatus est" section of the Credo, for example, and drew an extraordinarily dark, inward sound for the "passus at sepultus est" line.

The Sanctus and Benedictus inspired particularly radiant results, with the chorus at its most sensitive, and beautifully molded singing from the solo quartet -- soprano Erin Wall, mezzo Iris Vermillion, tenor Richard Croft, bass Kwangchul Youn. Concertmaster Nurit Bar-Josef played the long solo in the Benedictus -- one of Beethoven's most astonishing and compelling touches -- with admirable purity of tone and gracefulness of phrase.

There were ragged edges here and there in the performance, to be sure, but nothing got in the way of the overall expressive force, the sense of involvement from conductor, orchestra and vocalists alike.

On Sunday afternoon, I caught some of the Poulenc Trio's stylish concert at Goucher College, presented by the Baltimore Chamber Orchestra.

Ensembles of oboe, bassoon and piano are not exactly plentiful, since there is not a massive amount of repertoire for such a combination. But this particular group -- oboist Vladimir Lande, bassoonist Bryan Young, pianist Irina Kaplan -- knows how to make the most of this niche.

Beethoven's Op. 11 was delivered with great character; the songful phrasing by the winds in the Adagio was one of the highlights.

Andre Previn's Trio from the 1990s effectively blends jaunty and smoky jazz with richly harmonized lyricism. The first movement could be the soundtrack to a comic silent film, right down to spicy woodwind trills for the sight gags. A slow movement, haunted by a descending motive, and a virtuosic finale complete the vibrant score.

The Poulenc Trio delivered it all with technical poise and potent phrasing. Kaplan revealed particular flair for the jazziest flourishes.

Also on Sunday, Europa Galante, the brilliant early music ensemble from Italy founded and led by violinist Fabio Biondi, gave a performance for the Shriver Hall Concert Series.

It is amazing to think back to the first wave of period instrument groups a few decades ago, when things could be so musicologically strict -- and, often, technically erratic. Today, once-outlawed vibrato is allowed to sneak in for expressive underlining, and tempos are allowed to breathe.

Europa Galante demonstrated terrific flexibility on such matters, while maintaining excellent intonation and smoothness of blend, in works by Vivaldi, Couperin and Mascitti on the first half of the program. Early music-making doesn't get much better than this.

Biondi's glowing tone and lively phrasing proved a constant delight, and there was beautifully nuanced playing from his colleagues, especially Giangiacomo Pinardi on theorbo.

Posted by Tim Smith at 9:39 AM | | Comments (0)
Categories: Classical, Clef Notes, NSO, Shriver Hall
        

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About Tim Smith
Born and raised in Washington, D.C., I couldn't help but develop a keen interest in politics, but music, theater and visual art also proved great attractions. Music became my main focus after high school. I thought about being a cocktail pianist, but I hated taking requests, so I studied music history instead, earning a B.A. in that field from Eisenhower College (Seneca Falls, N.Y.) and an M.A. from Occidental College (Los Angeles). I then landed in journalism. After freelancing for the Washington Post and others, I was classical music critic for the Sun-Sentinel in South Florida, where I also contributed to NPR. I've written for the New York Times, BBC Music Magazine and other publications, and I'm a longtime contributor to Opera News. My book, The NPR Curious Listener's Guide to Classical Music (Perigee, 2002), can be found on the most discerning remainder racks.

I joined the Baltimore Sun as classical music critic in 2000 and, in 2009, also became theater critic, giving me the opportunity to annoy a whole new audience. In 2010, my original Clef Notes blog expanded to encompass a theatrical component -- how could I resist calling it Drama Queens? I hope you'll find both sides of this blog coin worth exploring and reacting to; your own comments are always welcome and valued (well, most of them, at least).

Think of this as your open-all-hours, cyber green room, where there's always a performer or performance to discuss, some news to digest, or maybe just a little good gossip to share.
Note: Tim Smith now writes about the fine arts at baltimoresun.com/artsmash. This blog will be kept in place as an archive for an indefinite period. Please visit the new location to get the latest Mid-Atlantic arts coverage.
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