Severance
Hall
October
10
At his best in an operatic setting. |
Ordinarily
it’s the conductor who makes the strongest impression at Severance.
Especially when the conductor is a prominent veteran like Marek
Janowski, who has led orchestras around the world. At 74, he is
renowned for his work in opera houses throughout Europe and the U.S.,
and an impressive discography that includes a complete, well-regarded
Ring cycle with the Staatskapelle Dresden.
For
all that, it was the soloist who shone brightest at Janowski’s
concerts with the Cleveland Orchestra last week. Lyric tenor Matthew
Polenzani showed why he is a regular at the Metropolitan Opera with a
finely crafted, moving performance of Britten’s Serenade for
Tenor, Horn and Strings.
Many
of Britten’s vocal works were written for his partner, tenor Peter
Pears, and are showcases of style and technique. In Serenade
the vocalist is paired with a French horn player, to great effect.
Opening and closing horn solos offstage set a melancholy nocturnal
atmosphere. And the harmonics of the horn as it plays with and off
the singer during his six songs are captivating, offering everything
from heightened emotion to humorous commentary.
Brilliant Britten. |
The
songs are musical settings of works by Tennyson, Blake, Keats and
other English poets, and the diction that Polenzani brought to his
reading was sterling, a beautiful combination of phrasing and
clarity. The first piece, “Pastoral”
by Charles Cotton, starts in countertenor territory, with succeeding
pieces gradually descending to standard tenor range. Polenzani
handled the transitions flawlessly while bringing eloquent expression
to each of the poems – sadness in Blake’s brief “Elegy,”
ominous overtones in a 15th-century dirge, and wrenching emotion in a
Keats sonnet. It’s rare to hear English-language text sung so
clearly and sensitively, with just the right balance of passion and
restraint.
That
tone was matched by Richard King, the Cleveland Orchestra’s
principal horn player. He was just as nuanced as Polenzani, weaving
soft colors and bright contrasts into the intricate vocal lines. In
King’s hands the horn had a voice of its own, complementing the
singer’s with cool hues and warm responses.
Janowski
was at his best in the Britten piece, showing his opera background
with a superb balance between the two soloists and the orchestra. The
music always underpinned the foreground performances, never
overwhelmed them. And his ability to conjure up moods and visual
effects in the orchestral accompaniment was breathtaking.
All
of which made the opening and closing works on the program
surprisingly disappointing. Janowski creates an elegant Old World
sound, which gave Fauré’s
Suite from Pelléas and
Mélisande a
radiant glow. But the piece slogged along to the point of becoming
ponderous, not leaving much of an impression.
Franck’s
Symphony in D minor – the only symphony he wrote – is a
big piece that sloshes around, aspiring to a dramatic impact that it
never quite achieves. Janowski rendered it with a finely calibrated
transparency, and showed great skill in his ability to take the
orchestra from a roar down to hushed whispers. Otherwise the piece
seemed pro forma, a token nod to the Dutch composer that did not play
to the conductor’s strengths. Nor, for that matter, the
orchestra’s.
Still,
it was a treat to hear the Britten piece. And in his 100th
anniversary year, there is more to come.
For
more on Matthew Polenzani: http://www.matthewpolenzani.com/
For
more on Marek Janowski:
http://www.intermusica.co.uk/artists/conductor/marek-janowski/biography
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