 Full-bodied choir acquit themselves in any language
 |
| Members of the Choir rehearsing in
Symphony Hall |
No complaints about variety in this Favourites from the Opera concert
or about the versatility of the choir, who acquitted themselves well
singing in Italian, Russian and their native language.
There was excellent support from the CBSO, who also took centre
stage in the Four Sea Interludes from Benjamin Britten's Peter Grimes,
which began with a hushed, shimmering dawn and ended with a powerful
storm.
The Moonlight section was not so successful, with conductor Adrian
Lucas unable to bring off the trick of making it sound tense and
expectant rather than just slow and hesitant.
The Triumphal Scene from Verdi's Aida was suitably grandiloquent
and it was good to hear Borodin's Polovtsian Dances from Prince Igor
in its original choral form, with fine work from the sopranos in the
section we can all hum along to courtesy of its use as Strangers in
Paradise from the musical Kismet.
Rather than presenting a selection of isolated arias from Gershwin's
Porgy and Bess, we had Robert Russell Bennett's concert version, a linked
arrangement of highlights making a satisfying potted version of the
opera.
A similar format was used for the selections from Bizet's Carmen
but this had a cobbled-together feel about it with Roderick Earle's
swaggering rendering of Escamillo's Toreador's Song, presented as if
it were the climax of the opera.
Emily Bauer-Jones was a dignified rather than sultry Carmen but it's
difficult being sexy while singing a clunky English translation.
The Gershwin was delightful, with vibrant orchestral playing complete
with banjo, Earle and Maureen Braithwaite's soprano - perhaps too delicate
in Summertime - sharing five roles, and ending with a joyous Lawd I'm on
My Way with the choir giving full-bodied support.
Norman Stinchcomb in The Birmingham Post,
Monday 19 May 2008
Previous review |
... superb clarity and wonderful dynamics.
