This evening I was in the beautiful and iconic surroundings of Liverpool's Philharmonic Hall in order to listen to both choir and orchestra of the Liverpool Philharmonic itself.There were three works on the programme, and the first, an 11 minute piece by contemporary composer Eleanor Alberga was unknown to me. Titled 'Tower' it was a progression of ever crescendoing tonal and discordant chords, as if the tower itself were being built by the sheer force of the music. It was an interesting listen, but sadly an instantly forgettable piece, and it didn't really seem to fit in with the two other items on this evening's programme either. Neither was it stylistically similar, nor was it of a similar genre or era of composition.
For the second piece this evening, we turn to one of England's greatest composers (a subjective opinion I might add). Ralph Vaughan-Williams. His song cycle for solo baritone from poems by Robert Louis Stephenson, known as 'Songs Of Travel', is a beautiful and haunting work of 9 poems. Originally set to just piano accompaniment, and later orchestrated, they are amongst Vaughan-Williams's finest examples of the English song style, of which he was undoubtedly one of the masters. To sing the work this evening was Roderick Williams, whose dulcet tones I have heard several times before. A most pleasing and gifted singer who is able to put much thought and emotion into everything he sings. Here was no exception, and along with the Philharmonic orchestra under conductor Martyn Brabbins, they sounded lush and deeply moving.
After the interval, and we prepared for the longest of the three works in the programme, and the one which gave this evening's concert it's title, 'A Child Of Our Time'. This is an oratorio by another English composer, Sir Michael Tippett, and lasts about 65 minutes without a break.
The performing of this oratorio could hardly seem more relevant at the moment as conflict in the Ukraine continues. The work was written between 1939 and 1941, and is a passionate reaction against the Nazi treatment of Jews during the second world war, their introduction of pogroms, and in particular the infamous Kristallnacht; and on a more universal scale, a riling against racism in all its forms. It is a cry for peace and brotherhood, as his highly personal and emotional work tries to speak about the oppression of all peoples, and is his personal pacifist crie-de-coeur to humanity for understanding and reconciliation. It is hard not to see and hear Tippett's passion throughout this work. The oratorio, written in the Baroque style, is in three parts, using recitatives, arias, and of course full choruses. Instead of the full chorales, typical of Bach for example, Tippett replaces these with African-American spirituals and gospel songs. A very canny and aurally pleasing choice.
Martyn Brabbins was back on the podium, and along with the combined orchestra and chorus of the Liverpool Phil, the four soloists in this oratorio were Nardus Williams (soprano), Kathryn Rudge (mezzo soprano), Elgan Llyr Thomas (tenor), and once again baritone Roderick Williams. Particular highlights in this performance for me were, 'Nobody Knows The Troubles', 'Go Down Moses', and 'Oh By And By'; in fact the chorus sounded superb throughout. Lovely balance on the harmonies and the swells handled beautifully.
Two pointers I should like to make however after having attended this concert. The first is that the evening was somewhat long. If the programme had not included the first piece, it would have cut the evening down to a more normal and acceptable concert length and there would have been no confusion of style. However my second, and more important point is the balance of sound this evening. For the 'Songs Of Travel', Williams was, on a few occasions inaudible, and during 'A Child Of Our Time', the orchestra frequently overpowered the soloist when singing softly. More (or indeed some) amplification of the soloists' voices was most definitely required this evening. Otherwise, a most enjoyable concert, performed with elan.
Reviewer - Matthew Dougall.
on - 24.6.23
Soloist overwhelmed by orchestra is a constant problem. I've seen singers who are acknowledged to have 'big voices' being drowned out by a tutti. On recordings, a 'false, ideal balance' can be created by engineers but concert halls, which vary acoustically, aren't so consistent.
ReplyDeleteThis WAS a long concert, especially by today's standards. 65 minutes is probably a bit too short, but it's difficult to find a suitably complementary work to go raise the curtain for 'Child ....' Maybe the new piece along would have sufficed?