(or Die Schöpfung). Almost without doubt my favourite Haydn work. Probably the first of his I knew, and knew well, at least in 'highlight' form. As a teenager I was very fond of Haydn, and I am currently going through a 'Haydn is gorgeous' phase. I played the CD I have three times over the weekend - it's not a CD that is satisfied with one play.
Both the concert programme and the BBC Building a Library recommend the von Karajan Version. The BBC also mentions three other versions. None of which include the one I have, which HMV states has been deleleted: David Willcocks/Academy of St Martin-in-the-Fields, Choir of King's College Cambridge/Heather Harper/Robert Tear/John Shirley-Quirk. To be honest, the male soloists are nothing special, but Heather Harper is to die for on this.
Anyway, back to Tuesday night. The Philharmonia and Philharmonia Voices under András Schiff with Ruth Ziesak, Helge Rønning and Christian Gerhaher.
I knew, really, with that line-up that it would be sung in German, but I kept trying to convince myself - no, this is London, it will be in English. So, I was disappointed when reading the programme that it would be in German. As far as I can gather, Haydn set it to two different libretti, one in English, based on Milton, and one a German translation of the English, so it seemed perverse to me to perform it in German in London. As I made my way to my seat I reminded myself not to let the language get in the way of my enjoyment. And it didn't.
There is a performance at the Barbican in July, followed by Lakeside Fireworks, that looks like it will be in English. I'd be there like a shot if I wasn't already booked for Die Walküre at ROH*
My overall impression of the concert: Haydn won with utterly gorgeous music - to quote the Barbican site
...musical gold. As one indelible number follows another, it seems as though the composers invention could go one forever.
There were a couple of things that irked me. I wasn't sure whether it was supposed to be period or modern - the timpani and trumpets were period instruments, the rest, as far as I could see were modern. And the style of playing was definitely Romantic, whereas I think it deserves a Baroque interpretation, more crispness and less lushness. My preference - your mileage may vary. The chorus sounded gorgeous - they all looked terribly young, (and thus, sounded fresh and light), or am I just getting old - but I would have preferred a larger choir - 38 are listed in the programme - especially for my favourite chorus - The Heavens are Telling. And I have to say that I found the dancing of the conductor to be very off-putting.
I thought Christian Gerhaher was very special and I would definitely pay good money to hear him again. Sweet, lyrical and with subtle nuances of shading and colouring, I felt that he was feeling the role. Helge Rønning was acceptable, if a bit generic. Ruth Ziesak started reasonably well. As the work progressed I found her increasingly disappointing. Then in the third part, she seemed to totally bliss out and deliver some blissful singing.
Although not a great performance, and one I am certain will be bettered at the Barbican, it was lovely, because the music is so beautiful, so accessible. What isn't there to like about Haydn? Beautiful tunes and orchestration, lovely contrasts between the different voices, changes of mood and tones. And the words. Although the work is religious, I really don't think you have to be religious to appreciate it, as you don't for Handel's Messiah. You have to have a 'soul' (or whatever you wish to call it), but there again, you need that to appreciate a good proportion of secular music.
The Guardian carries a review. Ooh, she describes Christian Gerhaher as mellifluous. I love that word; it's almost onomatopoeic.
The Times also carries a review. Funny, I agree with the overall conclusion but not all the details!
*And no, none of my Walküre tickets are up for sale, not for love nor money nor all the tea in China. Eye teeth and right arms also not accepted
