Severance
Hall
March
9
He puts a spell on you. |
An
all-Brett Mitchell weekend at Severance Hall came to a roaring close
on Sunday night with fireworks from the Cleveland Orchestra’s
junior ensembles, the Youth Orchestra and Youth Chorus. With Franz
Welser-Möst indisposed,
Mitchell had to conduct the parent orchestra on Friday and Saturday
night – in two different programs. The hat trick on Sunday gave him
a chance to show what he can do with his own program and players.
The
100-plus members of the Youth Orchestra benefit from regular
rehearsals with Mitchell as well as mentoring from their adult
counterparts, training that showed up immediately in the opening
piece, Beethoven’s overture to Fidelio. It was played with
surprising sophistication and authority, pulsing with the rhythms and
exuberant energy that characterize an understanding of the material.
That
turned out to be only a warm-up for Hindemith’s symphonic version
of Mathis der Maler. Adapted from the composer’s eponymous
opera, it is a work that would tax any orchestra, offering complex
descriptions of and meditations on paintings by Renaissance artist
Matthias Grünewald. It
also happens to be an ideal student piece, with every section of the
orchestra and many individual players required to step forward at
some point to carry the melody or fill in the details.
The
young players responded with precision and grace, setting electric
rhythms and crafting sensitive solos, particularly in the woodwinds.
The brass section popped like the power section of a swing band, and
the violins positively glistened. Most striking was the
orchestra’s clarity. Much of that goes to Mitchell, who knows how
to handle a large ensemble and keep the sound clean. But the
transparency of the Youth Orchestra was remarkable, on a level that
many adult orchestras strive for but never achieve.
If
the orchestra was good in the first half of the concert, the chorus
was sensational in the second. From the opening bars of John
Corigliano’s Fern Hill, a musical treatment of the Dylan
Thomas poem, the sound was crisp and responsive, like a well-tuned
sports car. The women get the majority of singing time in Fern
Hill, and they were warm and radiant, matching the sunny lyricism
of the poem. The orchestra provided flowing accompaniment, punctuated
by sharp percussion. Toward the end the sound went soft, but the
emotional charge in the chorus carried the finale.
Soprano
Amanda Russo provided a dusky contrast to the chorus’ bright vocals
in two stanzas of Fern Hill and the concluding Drei
geistlich Lieder (Three spiritual songs) by Mendelssohn. Even in
the relatively simple format of liturgical music, the chorus showed
great depth and range. And the effect of soaring young voices was
heavenly. There is simply no way an adult chorus can match the
innocence and aspiration inherent in a well-trained children’s
vocal ensemble.
It
was unfortunate that Maestro Welser-Möst
was absent over the weekend. Cleveland audiences see little enough of him as
it is, and his appearances with fellow Austrian Rudolf Buchbinder
should have been one of the highlights of the season.
But
no complaints about what got served up instead. From the intricacies
of Rachmaninoff to the hymns of Mendelssohn, it was tasty.
For
more on Brett Mitchell and the Cleveland Orchestra youth ensembles:
http://www.clevelandorchestra.com/education-and-community/youth-ensembles/
No comments:
Post a Comment