[LJ2ME] Ode To Ode To Joy
A sold-out concert filled to the rafters does not necessarily a good performance make. Popular does not by default equate to good as the quantity or quality debate has proven. Last evening's SSO concert opened up Circle 3 and if the chorus hadn't needed somewhere to park themselves, the Gallery seats would have been snapped up too.
But what am I saying? There was no need for undue concerns about the SSO after last week's disappointing and dismal showing. Perhaps back in form under the baton of Lan Shui, the orchestra once again found their footing and direction. So maybe it was the conductor to blame last time?
Of course, I may be biased for the Beethoven 9th is one of my, if not my favourite symphony. What is there not to like? The easy-on-the-ears music and instantly recognisable Joy theme in the finale is known by all, if not by name, but at least by association. When all this is served up in a superlative reading, there's really not much more to want and ask for.
The monumental opus was presented with mission and vision singular and distinguished. The opening purely orchestral movements had much to recommend themselves, the orchestra members coalescing as a whole yet the individual contributions still perceptible and distinct. The brass and woodwind highlights were brought to the fore to sing out above the urgent strings working overtime. Principal Percussion Jonathan Fox punctuated the fabric with a blistering working over of the kettle drums. With a performance as propulsive and persuasive as this one was, feet were seen tapping, fingers were seen drumming and heads were seen bobbing along to the music.
By the time the last movement came, with its arrival announced by the unleashing of a a maelstrom of violence and intensity before the lower strings reassess the evening's events, the long drawn-out tease was almost unbearable but totally worthwhile. When the Joy theme worms its way into consciousness ever so subtly, one can't help but smile.
The quartet of soloists and the combined choir deserved their bouquets. Bass Wilhelm Schwinghammer's sonorous delivery of his declaration of intent carried well into the house, his German as good as it gets and I almost could sing along without referring to the words, so clear and pristine was his projection. Mezzo soprano Carolin Masur was elegantly wrapped in a crinkled crinoline shawl the same shade of red rust as her sheath. Hers was a stable and supported voice and presence which blended well yet stood out from her esteemed colleagues'.
Tenor Thomas Cooley was an animated sight, grinning from ear to ear as he soaked in the music. His solo was despatched without affair, with the barking and yelping towards the end kept within the boundaries of reason. He seemed to share some private joke with soprano Juliane Banse as they exchanged conspiratorial looks while the other two looked stoically forward emotionless.
Banse was a vision of classical grace and beauty in her damask silk gown in Wedgwood blue with gold and cream ribbon trim. She could have modeled for a Lladro porcelain figure, so seemingly trapped in time was her composure and bearing. Not without reason, I was most invested in her part, and she rewarded my attention with a soaring high note that floated above the cacophony of the wealth of material going at it tongs and hammers.
When she was not singing, she kept turning to look backwards at the chorus. And not without reason for the choir represented by the usual forces of the SSC, SBCC and Hallelujah Chorus were augmented by the Singapore Symphony Children's Choir where the members in scarlet were interspaced within the Gallery to colour block the area.
Lim Yau's iron fisted guidance of the chorus produced impeccable results, the entire work coming to a resultant and resounding close with ebullience and belief close to the heart. The dynamics of the ensemble were specific and stringent in the hallowed acoustics of the house and greatly magnified and amplified by the reverberation chambers thrown open for impact and effect.
Oh, for a repeat of this!
But what am I saying? There was no need for undue concerns about the SSO after last week's disappointing and dismal showing. Perhaps back in form under the baton of Lan Shui, the orchestra once again found their footing and direction. So maybe it was the conductor to blame last time?
Of course, I may be biased for the Beethoven 9th is one of my, if not my favourite symphony. What is there not to like? The easy-on-the-ears music and instantly recognisable Joy theme in the finale is known by all, if not by name, but at least by association. When all this is served up in a superlative reading, there's really not much more to want and ask for.
The monumental opus was presented with mission and vision singular and distinguished. The opening purely orchestral movements had much to recommend themselves, the orchestra members coalescing as a whole yet the individual contributions still perceptible and distinct. The brass and woodwind highlights were brought to the fore to sing out above the urgent strings working overtime. Principal Percussion Jonathan Fox punctuated the fabric with a blistering working over of the kettle drums. With a performance as propulsive and persuasive as this one was, feet were seen tapping, fingers were seen drumming and heads were seen bobbing along to the music.
By the time the last movement came, with its arrival announced by the unleashing of a a maelstrom of violence and intensity before the lower strings reassess the evening's events, the long drawn-out tease was almost unbearable but totally worthwhile. When the Joy theme worms its way into consciousness ever so subtly, one can't help but smile.
The quartet of soloists and the combined choir deserved their bouquets. Bass Wilhelm Schwinghammer's sonorous delivery of his declaration of intent carried well into the house, his German as good as it gets and I almost could sing along without referring to the words, so clear and pristine was his projection. Mezzo soprano Carolin Masur was elegantly wrapped in a crinkled crinoline shawl the same shade of red rust as her sheath. Hers was a stable and supported voice and presence which blended well yet stood out from her esteemed colleagues'.
Tenor Thomas Cooley was an animated sight, grinning from ear to ear as he soaked in the music. His solo was despatched without affair, with the barking and yelping towards the end kept within the boundaries of reason. He seemed to share some private joke with soprano Juliane Banse as they exchanged conspiratorial looks while the other two looked stoically forward emotionless.
Banse was a vision of classical grace and beauty in her damask silk gown in Wedgwood blue with gold and cream ribbon trim. She could have modeled for a Lladro porcelain figure, so seemingly trapped in time was her composure and bearing. Not without reason, I was most invested in her part, and she rewarded my attention with a soaring high note that floated above the cacophony of the wealth of material going at it tongs and hammers.
When she was not singing, she kept turning to look backwards at the chorus. And not without reason for the choir represented by the usual forces of the SSC, SBCC and Hallelujah Chorus were augmented by the Singapore Symphony Children's Choir where the members in scarlet were interspaced within the Gallery to colour block the area.
Lim Yau's iron fisted guidance of the chorus produced impeccable results, the entire work coming to a resultant and resounding close with ebullience and belief close to the heart. The dynamics of the ensemble were specific and stringent in the hallowed acoustics of the house and greatly magnified and amplified by the reverberation chambers thrown open for impact and effect.
Oh, for a repeat of this!