A seriously gorgeous and special piece of music. I was trembling in anticipation this morning as i stepped into the shower. I fairly recently came to the conclusion that it is amongst my top five pieces of music ever.
So tonight, Barbican, mounting anticipation. I tried to order an interval drink but barstaff told me - no interval, and you know, I was pleased - nothing to interrupt the experience.
Names in the frame, as per the website:
Gabrieli Consort & Players
Chethams Chamber Choir
Paul McCreesh conductor
Sandrine Piau soprano
Mark Padmore tenor
Neal Davies bass
I opened my programme and learned that Part 3 would star Miah Persson and Peter Harvey. So, separate singers for Adam and Eve. In the general milling beforehand I saw a man who was an absolute doppelganger of René Jacobs. I thought, either that is René Jacobs or there's a man who bears an uncanny resemblance to him who has a liking for period instrument music....
What a splendid evening. Such beautiful music! Story taken from Genesis Chapter 1 - you know the 7 days*, plus poems from John Milton's Paradise Lost. Three parts: first creating the world, and the land and the sea; second, creating the creatures and man and woman. Third part Adam and Eve blissful in the Garden of Eden before The Fall.
It was a large orchestra - perhaps the largest period instrument orchestra I have witnessed, except for Rattle's Das Rheingold, of course, and a sizeable choir. Massed ranks probably equivalent in size to the LSO for Beethoven 9. A lot of doubling, two sets of timps, two quite separate wind sections and so on. Sadly, no theorbo: there was a theorbo last night, none at La bohème (quel surprise...!), one at Theodora last week, and one at the last Prom I went to, so I was getting into thinking theorbos were standard orchestral instruments...
The orchestra sounded absolutely fantastic. A wonderful tone, and brilliantly conducted, I thought, by Paul McCreesh. It proceeded at a spanking pace and was full blooded, but without the sentimental over-egging of lush strings in the style of Karajan. Sadly, there was a horn flub very near the beginning and I thought, with dread, it's going to be a period horn night. But thankfully, it wasn't. It's hard to single out which bit of the orchestra sounded best. To me they all sounded marvellous. I particularly liked the tympani, which was loud and passionate, I liked the flute evoking the dove and I loved the bassoons evoking the heavy tread of animals. There was a lovely horn passage, and the trumpets were bright and ringing. The strings were bright and acute and sharp (but not in pitch...!)
However, despite the superlatives, there is a catch to that. It's an oratorio, not an orchestral piece. And whether it was the orchestra being too loud, or the soloists not being loud enough, I don't know. It definitely wasn't just me, or my seating position, because two other people made a similar comment before I even asked them.
I was disappointed in Sandrine Piau. I have never heard her live, nor fully on disc, just excerpts, and I'd heard rave things about her. I didn't like her. She squalled the top notes, most excruciatingly in an embellishment in one da capo aria. Not loud enough, except when squalling. I found her rather boring. If my mind wondered at all it was during her arias.
Neil Davies was pleasant, but again not over-loud. A rather generic voice, but delivered his pieces with finesse and precision. Often with feelings. Mark Padmore was definitely the star of the first two parts. I think he has a lovely voice (very English tenor, not the sort of tenor that generally gets much kudos on mmofm), good technique, commitment, passion, and a degree of stage presence, yet, frustratingly he seems to be less than the sum of his parts. And he's certainly no Fritz Wunderlich (but who is...?). Coming out of Wigmore last night, someone said apropos his photo on display in the foyer "Doesn't Mark Padmore look like Tony Blair?" I thought on that particular photo he did seem to bear a passing - but only slight - resemblance, but seeing him tonight with this in mind, I had to agree. But not Sexy Tony so much as Tired Beleaguered Tony.
Peter Harvey was pleasant as Adam, and I could find no fault although I find it hard to pick out the highlights of his performance.
But the singing star was undoubtedly Miah Persson. She looked every bit the star in a turquoise** evening gown, sleeveless and strapless, with a delicate decoration, flowers maybe on the skirt, and as soon as she opened her mouth I fell in love. If Creation is one of my all time favourite works, then the Part 3 Scene 2 Duet and Chorus must count as one of my favourite numbers (By thee with bliss, O bounteous Lord, the heaven an earth are fill'd....The Heav'n and Earth Thy Power Proclaim; we praise thee now and evermore) Miah's singing brought tears to my eyes it was so beautiful. I think I have fallen ever so slightly in love, in a diva-worshipping sort of way. It's not only that she has such a beautiful, clear and musical voice, but she has a dignified stage presence. I don't know how she old she is; she only made her international debut three years ago, but she really is going to be a big star.
Paul McCreesh explained in the programme notes how he had re-translated the words from the rather clunky translation we know so well. One of the things was to be more true to the German and fit in better with the music, and also to correct some errors of very poor English. This was most apparent in The Heavens Are Telling where I am familiar with "The wonder of his work displays the firmament" which Paul altered to "The firmament displays the wonder of his works" which of course makes more sense, and, actually fits the music better, with 'wonder of his works' being the oft-repeated phrase, rather than 'displays the firmament'. But it really jarred for the first half of the chorus, until it hit me. And now I suspect I shall never be able to enjoy properly a performance or recording that uses the old original mistranslation...
Overall, a splendid evening, because, despite shortcomings from the some of the singers, it really was a Great Performance of a truly Great Piece of Music! And it's been a splendid October to end my near-hiatus. October ends on Tuesday with the minor matter of Rolando Villazón and Anna Netrebko. I've been told they will be doing a signing session; I shall be going armed with money. There's a reason...
Update: MusicOMH review
This was not the greatest Creation that London has seen, but when the choir opened their mouths and the orchestra surged in a great forte swell, it seemed to be not far off. The CD looks to be a necessity.
* it's not literally true, you know, but in this setting works as a beautiful allegory
** I say turquoise; It was more this sort of colour*** - which doesn't seem to show up well, but I've approximated it as an RGB of 4 54 60 (customise colours in Paint)
*** I suspect I might get linked from the Miah Persson fan bulletin board
