In the French first half of the concert, the evening got off to a rousing start with the fanfare from the ballet La Péri (The Fairy) by Dukas about Prince Iskender’s encounter with a fairy, from whom he steals the flower of immortality. Dukas added the fanfare shortly before the ballet’s première. Featuring only the brass section of the MPO, the work is an uplifting three minutes of exultant pomp and circumstance, fully reflecting the regal grandeur of a princely caravan procession.
After the Dukas, the Clare College Choir joined the MPO for a premiere performance of the 1893 version of Fauré’s Requiem at the DFP. The opening to the Introit and Kyrie was ethereal and sustained by the choir with deep sonorities that generated a calm atmosphere. Baritone Stephen Matthews gave an assured rendition in the Offertoire, which was followed by the choir’s ethereal response.
The Sanctus was lovingly rendered. However, some ensemble problems with the harp and the solo violinist Peter Danis intruded on this gentle rocking movement. Soprano Alice Halstead grew into the breath-defying Pie Jesu as the movement progressed. Impeccable control at the end led to an appreciative hush before proceedings resumed with the Agnus Dei.
Stephen Matthews again shone in Libera me, before the combination of crystal clear female voices, harp and organ was particularly delightful in the closing and angelic In Paradisum movement. The choir’s phrasing, diction and projection were all quite impressive under Ross’ direction.
After the interval, we heard Copland’s Fanfare for the Common Man that jolted the audience to attention with its violent drumbeats and powerful brass melodies that unfolded regally under Ross' baton.
Bernstein’s Chichester Psalms is an exuberant and challenging work, particularly the first part in infectious 7/4 time. The MPO and Clare College Choir began with exciting dissonant chords whilst the percussion players kept busy. The Clare College Choir and soloists Alice Halstead, Henrietta Box, Alexander Porteous and Stephen Matthews were on splendid form throughout this lively work.
Written to commemorate the defence of Moscow against Napoleon’s onslaught in the Battle of Borodino, Tchaikovsky’s 1812 Overture borrows folk and nationalistic sources to concoct a programmatic melee of sadness, belligerence and triumph. Fragments of “God Save The Czar”, “La Marseillaise” and a battle hymn alternate with two bouts of romantic outpouring, and it leads to an explosion replete with simulated cannon shots. As church bells announce the retreat of French troops, there is a triumphant Russian conclusion.
This MPO performance of 1812 was solid and somewhat exciting, and the incorporation of choral parts to the opening, middle and ending of the piece was certainly compelling. The central fugato section revealed a more polite rather than vigorous manner of the first and second violins tussling away. The recorded cannon shots sounded almost too resonant, whilst the massed strings of the MPO sounded too puny for a massive Napoleonic invasion of Russia. Nevertheless, it was tremendous fun to watch this choral version of 1812 under Ross' steady musical direction.
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