MISSA SOLEMNIS / MASAAKI SUZUKI
Singapore Symphony Orchestra
Esplanade Concert Hall
Friday (10 May 2019)
This review was published in The Straits Times on 13 May 2019
The
Japanese conductor Masaaki Suzuki has become a familiar figure on Singapore
stages, whether leading students at the Yong Siew Toh Conservatory in J.S.Bach
cantatas and chamber music, or conducting the Singapore Symphony Orchestra in
choral blockbusters. His latest venture, a gala concert with Beethoven’s
monumental Missa Solemnis might just be his greatest achievement here.
Composed
at the same time as his Ninth Symphony, Beethoven’s great setting of the
Roman Catholic liturgical mass represented yet another facet of his musical
genius. While the wildly popular Choral Symphony (Op.125) espoused
secular universal ideals of the “Brotherhood of Man”, the solemn and
heavier-going Mass in D major (Op.123) was his proudest statement of
faith in God.
Running
just over 72 minutes, a similar duration as the symphony, it is an exhausting
listen but Suzuki kept a tight rein on the proceedings. While not dealing with
a period instrument band, the SSO he directed was nonetheless a pared down
ensemble, one which projected lightness while not lacking in punch. This made
for an invigorating outing, which opened the Kyrie with a D major chord
of gripping grandeur. From there, the pace built up steadily, never slacking
off as the music rose from one climax to the next.
The
73-member Singapore Symphony Chorus, trained by choral director Eudenice
Palaruan who also sang in its ranks, delivered an outsized sonority that was
scarcely believable given its relatively small number. Previous choirs, often
double the strength, could learn something from its togetherness and discipline
in the work’s many tricky fugal maneuvers.
The
quartet of soloists, soprano Rachel Nicholls, mezzo-soprano Marianne Beate
Kielland, tenor James Gilchrist and baritone Christian Immler, were hand-picked
by Suzuki himself. Having worked with him in the complete Bach cantatas and
other projects, they were excellent in short solos besides being very
well-matched in ensembles.
Ecstatic
outbursts characterised the joyous Gloria. Trumpets proferred visions of
heaven, trombones declared awe-inspiring might, while Isaac Lee’s pipe organ
swelled the volume to lofty reaches. The chorus literally owned the Credo,
the affirmation of the Apostle’s Creed, with the tenors unflinchingly
giving the shout of Et resurrexit their best shot. These two loud
movements, with momentous proclamations of Amen, could have triggered
the audience into premature applause but attendees this evening were
particularly well-behaved.
Who
would have expected in the calming Sanctus, that astonishing extended
violin solo – almost a concerto movement in itself – by concertmaster Igor
Yuzefovich in perfect counterpoint with the singers? These provided moments of
exceptional beauty away from the blustery pronouncements of undying faith.
Similarly
the final Agnus Dei, which delighted in intricate woodwind interplay,
was also fairly quiet. The more sedate declamations of Dona nobis pacem
left no one in doubt that the call for peace was not a noisy affair, but a more
contemplative one. A better or more nuanced symphonic choral evening would be
hard to find.
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| Beethoven brainiacs unite! |
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