Above : Visiting conductor Stephen Layon from the UK led the members of SSO and Sydney Philharmonia Choirs in exciting interpretations of Bach’s Magnificat in D BWV 243 (1731) and Ešenvalds’ The Passion and Resurrection (2005).
It is almost Christian Easter. It is Ramadan. Jewish Passover is on the way. This programme began with the eighteenth century setting by JS Bach, a Lutheran, of the Latin Magnificat text. The performance of this work is directly linked to the Feast of the Visitation, celebrated in the Catholic Church since the fourteenth Century.
This concert of sacred work inspired by the Christian story was drenched in diversity. Following the concert’s title work, Magnificat, we were then introduced to a stunning work by Ēriks Ešenvalds, a composer who studied in a Latvian Baptist seminary. Texts juxtaposed in this choral atmosphere are taken from the Hebrew language and Bible, the Byzantine Orthodox liturgy, the Christian Bible and medieval hymn texts.
To assist in interpreting this concert’s two disparate, dramatic intensities with the correct gestrual energy, SSO engaged global choral expert Stephen Layton, a Fellow and Director of Music at the Trinity College, Cambridge. Ešenvalds also was recognised as Fellow Commoner in Creative Arts at Trinity College.
JS Bach’s version of the Magnificat text, traditionally sung at Vespers, or evening prayer time is a compact, elaborate vocal and instrumental smorgasbord. Its well crafted, good-taste collection of many styles and challenging polyphonic or higly decorated textures.
Above :Latvian compoaser Ēriks Ešenvalds. Photo credit: Andrea Angelini.
Stephen Layton ensured the various musical styles we encounter during Magnificat rang out with clarity and forward direction. Every note of mellisma from the choir or soloists, whether from instrumental introduction to the final note of coda material, was dropped with expressive precision into a glorious, airy space. The switch between intimacy and full choir as always rewarding to experience. The ‘Omnes generationes’ chorus amplifying the preceding soprano sentiment was one such slick transition.
Vocal soloists Amy Moore (soprano), Chloe Lankshear (soprano), Stephanie Dillon (mezzo soprano), Christopher Watson (tenor) and David Greco (baritone/nass) were seated to the side of the orchestra rather than along the front of the stage. They performed as solo voices or in ensemble comment by standing within the instruments.
This positioning worked very well in the renovated Sydney Opera House Concert Hall acoustic. It resultied in a beautiful and even meshing of forces in this performance.
There was a clear delivery of text and undulation of drama within this beloved Bach choral work. Moments of joyous Bachian bounce for full ringing textures alternated with tender, heart-on -the-sleeve-of-the-faithful comment in reduced instrumental layering. The much-anticipated oboe d’amore lines were delivered with measured beauty and a fine interplay with vocalists.
Gordon Kerry’s programme notes gave compact and excellent background to Bach’s work. Descriptive tropes interspered with the text translation drew attention to instrumention, narrative content and musical style in a few well chosen words. This would have assisted SSO’s ‘Meet the Music’ school student audience members, as well as newcomers to or lovers of this Baroque Magnificat setting alike.
Above : Soprano Amy Moore.
Ēriks Ešenvalds’ The Passion and Resurrection progressed with seamless shifts in language and energy. Amy Moore sang the part of female characters various with breathtaking virtuoso control from the front of the stage.
Once again with good support from programme notes we could follow the comments, character voices and references to the crucifixion as well as resurrection stories and their impact on followers of Christ or sinners embraced by his concern.
There was another innovative placement of soloists for this work. The remaining quartet of SATB voices adding to the exquisite, often hushed soundscape were positioned in the upper choir stalls behind the stage. A successful use of amplification brought this ensemble’s tone to us throughout this works expressive four parts.
Discovering Ēriks Ešenvalds’ profound mosaic-like work through these performers and conductor was quite the Easter gift. The complex instrumental layer so often required at the centre of the texture was played with unobtrusive ease by the ensemble of SSO players assembled..
The contemporary musical accent and several linguistic accents needed for delivering the text and arch of the drama was also shaped with effective excellence by the whole ensemble..
Violence, suffering, unhappiness and hop in the Passion text are so well highlighted by this skilled composer. Humanity’s pious or urgent need to find relief were conveyed and constrasted for us by the performers. We followed the shock of savage crucifixion at the work’s centre to a final calm praise to the merciful risen Lord in dialogue between solo soprano (Mariam) and vocal ensemble as Jesus (Rabboni).
Regardless of religious fervour or identity for any listener, Passion and Resurrection and the version of Magnificat heard before it in this short, concert with a lot of heart were examples of sacred works which work so well today, and can touch everyone.
