< Back to Archives
THE VIRGINIAN-PILOT
January 23, 2006
“Requiem Mass” performed as nod to Mozart’s birth
Festival captures drama and power of composer’s work
The Virginia Symphony began its Mozart 250th birthday festival over the weekend with performances of the composer’s powerful “Requiem Mass” at various Hampton Roads venues.
JoAnn Falletta conducted, and the excellent Virginia Symphony Chorus was on hand to provide choral support.
Falletta took a light and streamlined view of the work that still satisfied all the composer’s demands for weight and power. There was attention to drama as well – Mozart was a masterful composer for the stage, even in works not specifically intended for the theater.
In addition to drama, there was a sense of repose and consolation in Falletta’s work that demonstrated a great deal of thought about the piece.
One especially lovely moment occurred in the “Recordare,” where Falletta shaped the orchestral accompaniment with particular gentleness. There was also a clear sense of direction so that the ultimate climax was indeed the final fugue and the last “Amen.”
The chorus sounded full but able to maintain clarity, which allowed the audience to hear a great deal of the part-writing.
In fast portions, Falletta kept admirable control so that the music moved without sounding rushed. In the quieter sections, there was firmness to the chorus’ tone that echoed the conductor’s steady and calm interpretation.
The evening’s soloists added to the strength of the performance.
Brenda Harris may have occasionally sounded edgy in some of her higher passages, but she sang the soprano line with care and feeling. Mezzosoprano Angela Horn provided a contrasting darker sound that never boomed.
The two male soloists were exemplary, tenor Jonathan Boyd showing a bright and mellifluous tenor, and bassbaritone Jason Grant providing a dark foundation for the quartet that only needed a bit more assertiveness at times.
Falletta prefaced the “Requiem” with a real rarity – Rimsky-Korsakov’s
R E V IE W
Who The Virginia Symphony Chorus and Orchestra
Where Chrysler Hall, Norfolk
When Saturday evening
brief one-act opera “Mozart and Salieri.” The work was semi-staged, with costumes and minimal props, but even in this form, it emerged as a small gem.
Grant portrayed the tormented Salieri, who was so envious of Mozart’s genius and aware of his own lack of the same that he decided to poison the composer over dinner. Mozart was working on the “Requiem,” and there was a powerful scene that showed Salieri reading through the opening measures of the “Requiem” while the orchestra and off-stage chorus were heard in Mozart’s music (lavishly re-orchestrated by Rimsky-Korsakov).
Boyd was the likable Mozart, and both men were able to extract much drama from what is essentially a conversation piece.
The direction was by Reed Fisher of Milwaukee’s Florentine Opera, and he deserved credit (not to be found in the program) for helping to bring this rarity to light. Falletta also deserves kudos for this brilliant bit of programming.
• Reach Paul Sayegh at psmusic@
# # #
The Virginia Symphony Orchestra with a complement of 79 professional musicians under the direction of Grammy-nominated Music Director JoAnn Falletta performs 140 concerts annually, reaching 200,000 concert goers every season in venues throughout the region. Our education and outreach programs reach 53,000 students and adult learners every year. The Virginia Symphony Orchestra is the cultural cornerstone of the performing arts in Hampton Roads.
|
 |
