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In which I continue to seek part time employment as the ruler of the world.

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Friday April 14 2017

As related last Wednesday, I heard GodDaughter 2 (and others) perform this:

image

What a strange piece it is.  To an atheist like me, the plot is very simple and wholly disastrous.  Mother watches her only son being tortured to death.  Yet Rossini makes a lot of it sound rather up-beat, even jolly, despite it mostly being in a minor key.  This effect was strengthened in this performance by the fact that instead of the orchestra that Rossini specified, they made do with two pianists playing one piano.  Don’t get me wrong, these guys did fine.  But the inevitable emphasis that a piano places, unlike wind and orchestral stringed instruments, on the beginnings of notes, especially when two pianists need to keep in time with each other, created a mood not unlike a rather jolly brass band, of the sort manned by men in leather shorts.  Put on top of that singing that was more operatic in manner than traditionally ecclesiastical, and you can see why (I just learned this (blog and learn)) Heinrich Heine described the work as “too worldly, sensuous, too playful for the religious subject”.  Playful is exactly the word.  The tenor solo aria, early on, sounded like he’d just got married.

But then again, it’s not for atheistical me to be telling nineteenth century Italians how they should feel about the Crucifixion of Jesus Christ.  If they want to treat this as a cause for something close to celebration, which I suppose is what Christianity as a whole does, in among all the lamentation, I’m not going to tell them otherwise.  Besides which, I enjoyed it, once I had got over the surprise of how it sounded. Playful is a good sound.

If you like the sound of playfully ecclesiastical Rossini, I also recommend his Petite Messe Solomnelle.  That’s long been a favourite of mine.

There’s something about young-and-still-studying classical music voices that is often lacking with more famous, better paid and older classical singers.  Basically, their voices are still pristine, not yet having suffered from the habit of belting everything out to the far corners of opera houses.  Provided the students you are hearing are in command of what they are singing and don’t sing out of tune (these were and didn’t), they can create a sort of musical magic that you often miss on bigger and grander occasions.  There is also something appropriate about how none of them are stars, or not yet.  That way God, the Virgin Mary and her Son get to be the stars of the evening.

That said, towards the end, GodDaughter 2 had her big solo moment, doing a very difficult number with some scarily low notes.  As I already reported she did very well, in other opinions besides mine, Other than that, the highlight for me was the performance of Michael Ronan, who brought gravitas to the occasion of a sort that I was expecting rather more of.  I say “performance” because he accomplished this effect as much with his restrained and perfectly pitched body language as with his fine singing.

It was a shame that more people were not persuaded to attend this event.  I’m guessing we were mostly friends and family.  We had the performers outnumbered, but not by much.

I earlier linked to the Scherzo facebook page.  This was then still plugging last Wednesday’s performance, but as of now it features a photo of all the singers and their conductor Matthew O’Keeffe, taken after the performance.  I’m tempted to show you the photo of the photographer taking this photo that I photoed, but have resisted.  I also resisted taking photos of the performance during the performance, but she showed no such restraint, sometimes being almost in the singers’ faces.  Afterwards, I heard grumbles, but presumably she had permission.  If her efforts help Scherzo to get the bigger audiences they deserve in the future, then I forgive her.

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