PHILHARMONIA BAROQUE ORCHESTRA at ALICE TULLY HALL

Anthony Ross Costanzo and Anne Sofie von Otter onstage at Alice Tully Hall

The Philharmonia Baroque Orchestra presented an unusual program last night that offered delights, both expected and unexpected. Let us begin with the expected delights. Hearing countertenor Anthony Ross Costanzo singing Händel was the main reason we decided to review this evening and he did not disappoint.

Mr. Costanzo's selections served to show off the many special qualities of his instrument and the artistry with which he employs it. In "Inumano fratel ... Stille amare" from Händel's Tolomeo, he began as a victim complaining about how he has suffered at the hands of Fate. When he sang of his beloved, his color warmed and softened, and toward the end, as the poison (actually just a sleeping potion) took effect one could hear the grief and acceptance creep into his voice, accompanied by sobbing strings. We were also impressed by his strength at the lower end of the register.

For vocal fireworks we had to wait for "Vivi tiranno!" from Rodelinda, in which the wild flights of melismatic singing were employed to express Bertando's passion. (Apparently, the aria had the desired effect on Grimoaldo who relents and restores Bertando to the throne.) It was a landmark performance, doing credit to this artist whom we have thrilled to since his student days.

Mezzo-Soprano Anne Sofie von Otter is known to us mainly in her role as Octavian in Richard Strauss' Der Rosenkavalier, one of our favorite operas. We were very much looking forward to hearing her last night and for the most part we enjoyed her performance but we were disappointed in her use of the loathed music stand. We can understand its use in modern works and in ensemble singing but not for the Händel arias.

We admit that her dramatic skills almost overcame the handicap but it did interfere with her connection with the audience, giving us the chance to focus on the superb oboe solo of Marc Schachman in "Will the sun forget to streak" from Handel's Solomon. (If Handel decided to use an English libretto, we can decide to omit the diacritical marks, LOL.)

We enjoyed "Iris, hence away"--Juno's aria of revenge upon the unfortunate title character of Semele. Ms. von Otter invested the performance with plenty of drama in the florid melismatic passages and brought the aria to a powerful ending. 

The two singers sang a charming love duet from Solomon, one with intertwining vocal lines and a playful aspect. Speaking of playful, there was a lagniappe not on the program which both tickled us and also made us a bit uncomfortable.  Let us explain. Ms. von Otter is a head taller than the diminutive Mr. Costanzo. In the duet "My dearest, my fairest" from Purcell's . Pausanias, the pair played it for laughs in a way that might have diminished Mr. Costanzo were he not so secure. It just reminded us of how awkward we have felt on dates with men who were "vertically challenged", as they say.

Readers will be happy to know that we kept an open mind to the contemporary music on the program and were rewarded by aural pleasures.  Arvo Pärt's Summa was composed in 1977 and revised in 1991 for this combination of voices and string orchestra. Thankfully, it was tonal and not terribly challenging. There was a repetitive motif running through the short work. 

Our two vocal artists were well matched by a solo violin and viola in Pärt's  1984 "Es sang vor langen Jahren", which opened with a lovely string tremolo. The text was by Romantic poet Clemens Brentano.

We also liked two related pieces by Caroline Shaw which confirmed our opinion that singers excel in writing for the voice. We heard the world premiere of "And So" which was related to a work from three years ago called "Red, Red Rose" with a text by Robert Burns--a text which scanned and rhymed--two qualities which we feel tend to inspire melodic music. 

Ms. von Otter limned the pretty little turns in the vocal line and floated some exquisite high notes. The Burns work had the quality of a folk song with repeated verses.

We have yet to mention the instrumental pieces on the program, which opened with the Overture to Partenope by Händel. Maestro Nicolas McGegan has a modest appearance on the podium, without theatrics, but pulled together a consistently excellent performance from his mostly string orchestra which also includes a pair of Baroque oboes, a bassoon, a theorbo, and a harpsichord. During the Shaw we were sure we heard a celeste but could not see one!

The major instrumental work on the program was Händel's Concerto Grosso in B-flat major, of which we preferred the graceful Minuet and the spirited Gavotte.

The program closed with a Suite from Purcell's The Fairy Queen in which the theorbist occasionally swapped his theorbo for a Baroque guitar.

What an interesting concept it was to combine Baroque music and Modern music on the same program--all played by a Baroque ensemble!

(c) meche kroop

MOSTLY BRAHMS

Emanuel Ax and Anne Sofie von Otter onstage at Carnegie Hall

Last night at Carnegie Hall, two of the finest artists of their generation performed an evening of Brahms' music (interrupted by a lengthy work by Nico Muhly commissioned by Carnegie Hall).  It was not until the encores that we got to hear what we wanted to hear.  Highly esteemed mezzo-soprano Anne Sofie von Otter with acclaimed collaborative pianist Emanuel Ax made a fine team; what was missing was the feeling of intimacy that Brahms' songs require.  It is not their fault; it is just the size of Stern auditorium.  The number of fans and financial considerations likely dictate the size of the venue and this cannnot be helped.

Ms. Von Otter is on the contained side but during the first encore, "Sapphische Ode" her gestures grew in amplitude and somehow bridged the intimacy gap.  In the second encore she enacted, yes ENACTED! the dialogue between a young woman who has trouble expressing what she wants to her mother who feigns ignorance.  The girl gets increasingly exasperated until her mother realizes the girl wants a man.  So far we are unable to locate the name of this charming song but will supply it in the future.

Brahms oeuvre of lieder is vast and he had an affection for setting folk songs, many of which were heard last night.  We enjoyed "Sommerabend Op.85, No. 1" in which our two artists shared moments of exquisite control of dynamics.  In "Juchhe! Op. 6, No. 4" we heard a joyful side of Brahms that was pure delight.  The heartfelt "Von ewiger Liebe, Op. 43, No. 1" has won our admiration time and time again.  In "Ständchen, Op. 106, No. 1", another favorite of ours, the two artists painted a charming picture of three serenaders and their effect on a sleeping maiden.  We observed that when Ms. Von Otter uses her body her voice seems to open up and enfold the audience to a greater extent.

"Nachtwandler, Op. 86, No. 3" had a lovely delicacy; "Am Sonntag Morgen, Op. 49, No. 1" was marked by an impressive range of vocal color as the singer puts on a happy face for the world while suffering within.  There was a lovely rocking feeling in the piano in "Ruhe, Süssliebchen, Op. 33, No. 9".  We recently heard the entire cycle Magelone-Lieder performed by the Brooklyn Art Song Society and were pleased to hear the song again.

Also performed were the Zigeunerlieder, Op. 103 which have somewhat less of a gypsy flavor than those of Dvořak.  We most enjoyed "Wisst ihr, wann mein Kindchen" and the rhythmic "Brauner Bursche führt zum Tanze" which was performed with lavish rubato.

Mr. Ax had the opportunity to perform four of Brahm's late-life short pieces, three Intermezzi and a Romanze.  Our favorite was the "Intermezzo in A Major, Op. 118, No. 2" in which we are sure we heard echoes of Mendelssohn's "Ist es wahr".

About Mr. Muhly's "So Many Things", we have little to say.  Our 19th c. ears could not wrap themselves around the 21st c. music and, although certain words could be heard, entire phrases could not be understood and the text was not in the program.

We  felt privileged to be able to witness these artists onstage in spite of the drawback mentioned earlier.  It is unlikely that we would ever have the opportunity to experience them in a more intimate venue.

ⓒ meche kroop