Fauré vs Mozart
Fauré Requiem - Harry Christophers (conductor), Elin Manahan Thomas (soprano), Roderick Williams (baritone), The Sixteen, The Academy of St Martin in the Fields, live at the Barbican, Aug 2, 2007
Mozart Requiem - Harry Christophers (conductor), Lucy Crowe (soprano), Catherine Wyn-Rogers (mezzo-soprano), Robert Murray (tenor), Matthew Rose (bass), The Sixteen, The Symphony of Harmony and Invention, Aug 4, 2007
At least Fauré and Mozart were never anywhere near enough to each other to have a spat, being separated by some 51 years. They did both know how to write a piece to commemorate death, and The Sixteen performed both of these settings of the Requiem last week at the Barbican. The Sixteen is without doubt one of the best and most adaptable chamber choirs around, with a repertoire that spans five centuries. Their annual Messiah performance at the Barbican is always sold out, and their concert schedule includes an annual pilgrimage of English cathedrals. All this aside, they sound amazing. I know what you're thinking. There must be sixteen of them. But, in fact, there are twenty-something on them, depending on the performance, including an excellent section of male altos, and listening to them is like being hit by a wave of sound that swells and sways at their conductor's subtlest command. Christophers, incidentally, is a genius, seemingly creating magic out of the air.
Yes, anyway, enough gushing. The choir have just recorded a new album with Welsh soprano Elin Manahan Thomas, although she was a bit disappointing in the first concert, with minor intonation issues throughout, and a thin voice that didn't particularly appeal. The Pie Jesu was particularly unappealing. Roderick Williams, on the other hand, has a rich, full voice, and was a popular soloist. On Saturday, the choir started with Vivaldi's Gloria. They were slightly under par by their standards, probably saving their voices for the Mozart Requiem in the second half. But all that was forgotten by the time the Laudamus te arrived, and the rest of the concert was almost literally worth dying for. Wyn-Rogers was the most consistent of the four soloists, but Lucy Crowe, despite being less technically accomplished and repeatedly shading the top of her register, provided silky and colourful singing throughout.
But really, it's all about The Sixteen. I'm afraid I'm a Sixteen groupie... more on them in December, when they'll be performing A Ceremony of Carols and The Messiah at the South Bank and the Barbican respectively.
Mozart Requiem - Harry Christophers (conductor), Lucy Crowe (soprano), Catherine Wyn-Rogers (mezzo-soprano), Robert Murray (tenor), Matthew Rose (bass), The Sixteen, The Symphony of Harmony and Invention, Aug 4, 2007
At least Fauré and Mozart were never anywhere near enough to each other to have a spat, being separated by some 51 years. They did both know how to write a piece to commemorate death, and The Sixteen performed both of these settings of the Requiem last week at the Barbican. The Sixteen is without doubt one of the best and most adaptable chamber choirs around, with a repertoire that spans five centuries. Their annual Messiah performance at the Barbican is always sold out, and their concert schedule includes an annual pilgrimage of English cathedrals. All this aside, they sound amazing. I know what you're thinking. There must be sixteen of them. But, in fact, there are twenty-something on them, depending on the performance, including an excellent section of male altos, and listening to them is like being hit by a wave of sound that swells and sways at their conductor's subtlest command. Christophers, incidentally, is a genius, seemingly creating magic out of the air.
Yes, anyway, enough gushing. The choir have just recorded a new album with Welsh soprano Elin Manahan Thomas, although she was a bit disappointing in the first concert, with minor intonation issues throughout, and a thin voice that didn't particularly appeal. The Pie Jesu was particularly unappealing. Roderick Williams, on the other hand, has a rich, full voice, and was a popular soloist. On Saturday, the choir started with Vivaldi's Gloria. They were slightly under par by their standards, probably saving their voices for the Mozart Requiem in the second half. But all that was forgotten by the time the Laudamus te arrived, and the rest of the concert was almost literally worth dying for. Wyn-Rogers was the most consistent of the four soloists, but Lucy Crowe, despite being less technically accomplished and repeatedly shading the top of her register, provided silky and colourful singing throughout.
But really, it's all about The Sixteen. I'm afraid I'm a Sixteen groupie... more on them in December, when they'll be performing A Ceremony of Carols and The Messiah at the South Bank and the Barbican respectively.
Labels: Catherine Wyn-Rogers, Elin Manahan Thomas, Fauré Requiem, Harry Christophers, Lucy Crowe, Mozart Requiem, The Sixteen
posted by CCT at 6:07 pm
0 Comments:
Post a Comment
<< Home