Beethoven's Ninth a true Ode to Joy
Concert: National Orchestra, MCC
This joint effort was held as part of the activities marking the 50th anniversary of the Treaty of Rome. It featured the National Orchestra, conducted by Michael Laus, a soloist SATB quartet and the combined forces of the Collegium Musicum and the University Vocal Ensemble of SATB soloist trained by Dion Buhagiar.
The choice of Beethoven's ninth, last and greatest symphony is pretty obvious if not only for the gorgeous main theme of the choral movement, which years ago was adopted as the anthem of the European Union. Beethoven's thought, vision and spirit would have sufficed to justify the choice, anthem or no anthem. One could say it from the start that by the end of it one felt elated and exalted. For that was the global effect. Which is not to say that the performance was flawless... for what is? It would be petty nit-picking to mention certain things but lest some wagging tongue were in doubt whether this writer hears them or not they will be mentioned.
There were of course moments, especially at the beginning, when the chorus's diction was a trifle too broad but it improved as it went along and what matters is that they were so very well-prepared that all trepidation one felt before that great, devilishly difficult fugue came along was dispelled at the precise crispness, flow and deft manoeuvring of dangerous shoals which was so very much in evidence. The chorus produced a balanced sound and the killing writing for the voice barely affected either energy or volume.
Beethoven may have been a genius in many departments but not in the vocal one. The four soloists may have a relatively brief role but the writing is hard and it takes quite something for all of them to remain as fresh sounding as when they start off. As things were, it was the Maltese and female half of the quartet which had the better of the other (male) German half. Soprano Miriam Gauci held her own beautifully and one expected no less. This could also be said of mezzo-soprano Claire Massa but tenor Reiner Goldberg left much to be desired. One may have had "it" but what matters is "now" and either one has it now or one does not. As regards bass Roman Gruebner his voice could still expand at some later phase but now is certainly not the kind of voice needed for "Die Neunte".
The orchestra was simply on really good form. Yes, yes, yes...there were two or three stray notes from somewhere in the strings (possibly the lower?) but heavens, what a colossal job they tackled, faced and rode out to eventual general satisfaction. It is the overall result which counts. The rich tone and texture, precision and crispness underlined each movement as the work unfolded. The contrasts in the opening movement, when themes were introduced, expanded and developed were as well-defined as those in the irresistible surge forward of the irrepressible scherzo. Punctuated as it were with the quieter sections aglow with the chatter of the woodwinds, this was one of the best exercises in control yet giving enough rope.
The sublime slow movement was just that, as wave after wave of gorgeous sound voiced the noblest of aspirations. Few must have been left untouched or unmoved. The climax of course was reached with the portentous fanfare in the finale. It continued with the almost mischievous hearkening backward to previous material. Then came the beginning of the final ascent to the apex thanks to that lovely mellow introduction of the dominant theme on the lower strings. The rest followed in natural sequence, even if not completely as planned by the composer for reasons mentioned above.
The choice of Beethoven's ninth, last and greatest symphony is pretty obvious if not only for the gorgeous main theme of the choral movement, which years ago was adopted as the anthem of the European Union. Beethoven's thought, vision and spirit would have sufficed to justify the choice, anthem or no anthem. One could say it from the start that by the end of it one felt elated and exalted. For that was the global effect. Which is not to say that the performance was flawless... for what is? It would be petty nit-picking to mention certain things but lest some wagging tongue were in doubt whether this writer hears them or not they will be mentioned.
There were of course moments, especially at the beginning, when the chorus's diction was a trifle too broad but it improved as it went along and what matters is that they were so very well-prepared that all trepidation one felt before that great, devilishly difficult fugue came along was dispelled at the precise crispness, flow and deft manoeuvring of dangerous shoals which was so very much in evidence. The chorus produced a balanced sound and the killing writing for the voice barely affected either energy or volume.
Beethoven may have been a genius in many departments but not in the vocal one. The four soloists may have a relatively brief role but the writing is hard and it takes quite something for all of them to remain as fresh sounding as when they start off. As things were, it was the Maltese and female half of the quartet which had the better of the other (male) German half. Soprano Miriam Gauci held her own beautifully and one expected no less. This could also be said of mezzo-soprano Claire Massa but tenor Reiner Goldberg left much to be desired. One may have had "it" but what matters is "now" and either one has it now or one does not. As regards bass Roman Gruebner his voice could still expand at some later phase but now is certainly not the kind of voice needed for "Die Neunte".
The orchestra was simply on really good form. Yes, yes, yes...there were two or three stray notes from somewhere in the strings (possibly the lower?) but heavens, what a colossal job they tackled, faced and rode out to eventual general satisfaction. It is the overall result which counts. The rich tone and texture, precision and crispness underlined each movement as the work unfolded. The contrasts in the opening movement, when themes were introduced, expanded and developed were as well-defined as those in the irresistible surge forward of the irrepressible scherzo. Punctuated as it were with the quieter sections aglow with the chatter of the woodwinds, this was one of the best exercises in control yet giving enough rope.
The sublime slow movement was just that, as wave after wave of gorgeous sound voiced the noblest of aspirations. Few must have been left untouched or unmoved. The climax of course was reached with the portentous fanfare in the finale. It continued with the almost mischievous hearkening backward to previous material. Then came the beginning of the final ascent to the apex thanks to that lovely mellow introduction of the dominant theme on the lower strings. The rest followed in natural sequence, even if not completely as planned by the composer for reasons mentioned above.