Severance
Hall
April
11
A witty and accomplished pinch-hit performance. |
O
Fortuna! The conductor is out with a bad back, whatever shall we do?
In
the case of the orchestraʼs performances of Carmina Burana
this weekend, the answer came surprisingly easily, and with exemplary
results: Put Assistant Conductor James Feddeck on the podium.
As
anyone who has heard the Cleveland Orchestra Youth Orchestra knows,
it takes no back seat to its parent in either programming or playing.
Under Feddeckʼs direction, the young ensemble (18 is the upper age
limit) routinely turns in sharp, sophisticated performances, most
recently at a March 10 concert that included a thoroughly
professional treatment of Tchaikovskyʼs Symphony No. 5. And
it was largely at Feddeckʼs urging that the ensemble mounted its
first-ever international tour last summer, impressing audiences in
Prague, Vienna and Salzburg.
Even
under the best of circumstances Carmina Burana presents a
formidable challenge, calling for a tight performance from a large
orchestra, full chorus, childrenʼs chorus and three solo vocalists.
With so much firepower onstage, the usual approach is to crank up the
volume and let ʼer rip, trusting that the sheer spectacle and
emotional grandeur of Carl Orffʼs overstuffed cantata will satiate
the audience. There was plenty of that. But Feddeck showed that there
can also be some artistry in the piece.
His
fine touch was evident in the opener, Bachʼs Concerto in A major
(BWV1055), which provided
a gentle counterbalance in the programming and a rare solo
opportunity for english horn player Robert Walters. The concerto has
been performed for more than two centuries with a chamber orchestra
and harpsichord soloist, but recent scholarship suggests that Bach
originally wrote the solo parts for oboe dʼamore, a mid-range member
of the oboe family. Walters showed expert facility with the
instrument, caressing his lines and matching the graceful lilt that
Feddeck drew from a 26-piece chamber ensemble.
The
ensemble included a harpsichord, but that was only one element in the
authentic early music sound that Feddeck created. Baroque is often
played with a beat in the U.S., which gives it a modern cast.
Feddeckʼs version was true to the period, measured and buoyant with
an elegant flowing quality, the Old World sound gilded by light, sweet
violins.
The
big choral blast that opened Carmina Burana in the second half
quickly gave way to the insistent rhythms that drive the piece, which
in Feddeckʼs hands were comparatively muted and controlled – and
better for it. That set the opening chords of the “Primo Vere”
section in sharp relief, with soft choral work maintaining just the
right tension throughout the repeating motif. A careful
balance between the orchestra and chorus characterized the entire piece,
giving it added depth and dimension, particularly in the Round Dance
of the “Uf dem Anger” section and the soprano solos in the “Cour
dʼAmours.”
Feddeckʼs
craftsmanship was evident in many small details – solo woodwind
lines of sparkling clarity, sharp cracks of percussion, and rich
colors to augment the singers. The tenorʼs swan lament in the “In
Taberna” section was like a clinic in the clever use of
orchestration, with witty commentary from snarky horns, grumbling
trombones and ominous gongs. There was even a touch of an oom-pah-pah
band in the main tavern scene, with the male chorus roaring through
the endless toasts and the percussion mimicking beer glasses slamming
on the table.
The
singers got in the spirit with perhaps too much mugging. Tenor
Nicholas Phan drew titters of laughter fanning himself and collapsing
from the heat of the oven, and baritone Stephen Powell managed to
work a hiccup into a wobbly rendition of the abbotʼs drunken
declamation. Soprano Rebecca Nelsenʼs histrionics occasionally
overshadowed her lovely, agile voice, which took on a lustrous glow
in the quickening emotions of “Cour dʼAmours.”
Feddeck
invoked the gates of heaven with dramatic drums, horns and high
volume for “Blanziflor et Helena,” then dropped to a slow simmer
for the concluding return to “Fortuna,” building to a thundering
finish that he conducted with two-handed sweeps of the baton, like a
tennis player making a backhand smash. Fate is indeed a wild and
fickle mistress, as Franz Welser-Möst
can attest. But she smiled on his replacement, and the audience, this
night.
For
more on James Feddeck:
http://www.clevelandorchestra.com/about/feddeck-bio.aspx
Many
performances of Carmina
Burana are
posted on YouTube. Hereʼs one conducted by Polish phenom Krzysztof
Urbański:
https://www.youtube.com/watch?v=txSoevpWUCk
Photo by Roger Mastrioanni
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