United Kingdom Fauré, Brahms, Messiaen: James Ehnes (violin), Rhian Lois (soprano), Neal Davies (baritone), BBC National Chorus and Orchestra of Wales / Ludovic Morlot (conductor). St David’s Hall, Cardiff, 12.2.2023. (PCG)
Brahms – Violin Concerto
Messiaen – O sacrum convivium
Fauré – Requiem
This was an oddly paired programme, half-choral, half-concerto, however it proved engaging fare for the Cardiff viewers. They turned out in droves to listen to the favored Fauré Requiem and to welcome Canadian James Ehnes in a heartfelt efficiency of the Brahms Violin Concerto. His look within the first half afforded him and the orchestra a standing ovation. His enjoying was beautifully completed, and he was absolutely in charge of the screeds of figuration that Brahms and Joachim provided. In the delicate accompaniment by Morlot and the orchestra, the balances have been rigorously judged. The interpretation itself clearly laid emphasis on the classical roots of the music; Ehnes’s delicate tones have been by no means compelled or delivered with bluster within the romantic method. This meant that in locations his fast-running passages tended to submerge into the orchestral texture, however the outcomes have been all the time musical. The engineers will likely make clear issues when the efficiency is broadcast on BBC’s Radio 3 in Concert at some future, and unspecified, date.
In the second half, Messiaen’s unaccompanied early choral piece made a pleasing and sudden curtain raiser for the Requiem. It is in a comparatively typical model, however the generally sudden harmonies give a way of ambiance. The solemn textual content of O sacrum convivium is delivered in an erratically notated rhythm, and that permits the Latin phrases to develop or contract with obvious freedom. The hushed choral tones and the richness of the sound gave a brand new perspective: the work was initially presumably supposed for the cathedral acoustic and for smaller forces. (Full texts and translations of each choral items seem within the free BBC programme.)
After the hushed conclusion of the final suspended F-sharp seventh chord within the Messiaen, the opening fortissimo D unison of the Fauré got here as one thing of a shock; and certainly drama was the watchword of this efficiency, as was lyrical depth. In the opening bars, Morlot was fairly ready to take Fauré at his phrase along with his tempo indication Molto largo and extremely gradual metronome mark. The return of the identical materials on the finish of the Agnus Dei was heralded with some actually wealthy orchestral enjoying, regardless of the lowered variety of violins. The rating was given within the composer’s full-scale instrumentation of 1900, however the muddy textures – which may end result from the divided viola and cello forces – have been skilfully prevented and the inner balances have been ideally judged. (That had brought about issues with the work after I final heard it on this corridor with this similar choir and orchestra some 9 years in the past.)
Neal Davies was superbly poised in his two solos. Even higher was Rhian Lois, who not solely managed to ship the difficult opening phrases of the Pie Jesu useless in tune however then allowed her voice to develop with superlative heat within the last verse; no try right here to match the timbre of Fauré’s authentic request for a boy treble! The ‘big tune’ within the Libera me was beautifully resonant. The refrain demonstrated that 95 singers (together with reinforcement from Welsh National Opera) was not too massive a physique for a piece that we’ve maybe not too long ago been too inclined to treat as a chamber piece.
In 2014, I had complained that the piping flutes of the St David’s Hall organ sounded too like a fairground Wurlitzer for consolation within the last motion. Here, with extra thoughtful registration, it made its correct impact. The choral sopranos floated their hovering traces with ease and beautiful style in precisely the style required. In the ultimate bars of the Libera me, Morlot launched a crescendo and diminuendo on the ultimate choral chord, which isn’t indicated within the vocal rating however completely in character with the character of Fauré’s inspiration. This was typical of the care exercised all through this completely gratifying efficiency, and once more the viewers gave an enthusiastic reception – after an prolonged rapt stillness on the finish.
Post-pandemic Sunday afternoon concert events can now as soon as once more appeal to massive audiences to Cardiff, regardless of the continued issues with public transport. This reality, I belief, was not misplaced on the members of Cardiff City Council, who’re nonetheless contemplating offloading to an outdoor contractor the accountability for the upkeep and way forward for the corridor. The on-line petition towards this irresponsible motion is open for signatures by those that want to register their concern. The Council’s plan reveals a contempt for the inventive aspirations of the Welsh capital and for its operate as a cultural hub for the entire area.
Paul Corfield Godfrey