Tag Archives: Jordan Bisch

Charlotte Symphony’s Missa Solemnis Thrills With Power and Sublimity

Review:  Missa Solemnis

By Perry Tannenbaum

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Beethoven’s original intent, when he conceived his Missa Solemnis, was to honor one of his foremost patrons, Rudolf, the Archduke of Austria, who was to be installed as an archbishop on March 9, 1820, in what is now the Czech Republic. Unfortunately, Beethoven missed his self-imposed deadline, so we are not on the brink of celebrating the bicentennial of one of this composer’s most towering achievements. The score wasn’t placed in Archbishop Rudolf’s hands until the third anniversary of his installation, wasn’t premiered until the spring of 1824 in St. Petersburg, and Beethoven never saw (by this time, he was deaf) a complete performance during his lifetime. Only the Kyrie, Credo, and Agnus Dei were offered when Beethoven presided over the only performance of the Missa Solemnis that he ever attended on May 7, 1824. Yet it cannot be said that the Vienna audience was shortchanged, for on the same night, Beethoven’s immortal “Choral” Symphony had its world premiere.

There is certainly a kinship between the two works, which call upon the Charlotte Symphony Orchestra to bring a chorus and four special guest vocalists to the stage each time they are presented. Last conducted at the Belk Theater by maestro Christopher Warren-Green at the season finale for 2011-12, Missa Solemnis has a power and visceral impact that rivals Beethoven’s mighty Ninth, but it is nowhere near the same magnitude as a box office attraction. Symphony has wisely pushed the chorale to an earlier spot in this season’s calendar and, compared with recent Beethoven programs when Emperor Concerto and Symphony No. 8 were given three times each, limited performances to two. Most concertgoers who were there on opening night would enthusiastically confirm that this singular mass was well worth hearing.

Warren-Green’s guest vocalists and the orchestra seemed slightly tentative – and the timpanist slightly timid – in setting up the opening Kyrie, and the ethereal music that Beethoven wrote for organ was conspicuously AWOL during Gloria and the penultimate Sanctus. But the confidence of the singers and musicians firmed up quickly enough for the hesitant opening moments to be forgotten by evening’s end – while the excellence of the guest vocalists remained a constant. In the company of tenor Yeghishe Manucharyan, soprano Christina Pier, and bass Jordan Bisch, mezzo-soprano Siena Licht Miller initially sounded underpowered in the alto part.

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Satisfaction in hearing Miller tracked similarly to the performance as a whole. When we reached the second section, the Gloria, Warren-Green jumped up and down to spur the musicians on, tempo quickened excitedly with an awesome leap in loudness, horns and brass entered zestfully into the fray, and the chorus – especially the sopranos – sang with heightened crispness and enthusiasm. After the opening Kyrie, each of the remaining four sections was well over 15 minutes in length, epic enough to go through multiple changes in tempo and mood. Beginning with the Gloria, we heard Miller to better advantage when she was freed to explore her upper range.

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Manucharyan and Piers were more consistently strong, powerful enough to assert themselves distinctively even when the Charlotte Master Chorale – known as the Oratorio Singers of Charlotte in 2012 when they previously teamed with Symphony on this work – sang robustly behind them. Displaying admirable stamina merely by remaining standing for the entire 80-minute performance, the Master Chorale were marvelous throughout. Perhaps their most thrilling work occurred in the insistent Credo section, but their hushed moments in the sacred episodes strewn across the work were equally treasurable, more than compensating for the sacramental void left by the absent organ continuo.

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Bisch had his best moments as he opened the climactic Agnus Dei section, which was eventually crowned with military thunder and harmonious choral glory. Perhaps the most memorable moments of the entire concert were cued during the Sanctus when concertmaster Calin Ovidiu Lupanu raised his music stand, signaling that he himself would soon stand up and deliver a silvery solo before merging blissfully with the guest soloists, most especially Piers and Manucharyan, in the sublime “Benedictus” portion of this section.

The elegant Preludio played by Lupanu, almost entirely far up in the violin’s range, is said to have been Beethoven’s attempt to simulate the descent of the Holy Spirit into the midst of his solemn creation. Most of the concertgoers at Belk Theater would likely testify to the composer’s success.

Stars of Opera Carolina’s Eugene Onegin Shine Brightest in Act 3 Showdown

Review: Opera Carolina’s Eugene Onegin

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By Perry Tannenbaum

Opera Carolina subscribers have never been as fervid about Peter Ilyich Tchaikovsky as their Charlotte Ballet counterparts. On opening night of Opera Carolina’s Eugene Onegin, you could calculate the difference by gazing at the empty seats at Belk Theater. Artistic director James Meena, with a generous deployment of musicians from the Charlotte Symphony, gave an admirable account of the score. Scenic designer Peter Dean Beck engineered a setting that evoked the look and feel of the Metropolitan Opera’s Onegin, brimming with wintry birch tree trunks.

Still the new Opera Carolina production wasn’t quite engineered to change subscribers’ minds. In the early going, Alexy Lavrov’s performance as Onegin paled in comparison with what I experienced from the late Dmitri Hvorostovsky in New York. The baritone’s difficulties were compounded when the projected supertitles, wayward all evening long in tracking the action, failed altogether at the climactic moment when Onegin gave his polite and heartless answer to the passionate declaration of love that young Tatyana had written to him the night before. We lost some valuable nuances there.

Tchaikovsky and Alexander Pushkin, whose verse novel the composer adapted for his 1879 opera, no doubt expected us to like and empathize with the earnest young poet, Vladimir Lensky, more than with the best friend who suddenly became his mortal enemy. With tenor Sebastien Gueze as the pure-hearted poet, I also found Lensky more impressive, not only in his valedictory aria before the fatal duel with Onegin but also at the festive ball scene, where the poet’s jealousy over his friend’s advances to his fiancée Olga ruptures their friendship. After his moving performance of “Lenski’s Air,” I was doubly sorry to see Gueze go.

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Yet once the fatal duel had concluded Act 2, something almost magical occurred. After the pivotal gunshot and confirmation of Lensky’s death, Onegin hung around, without the curtain going down, as the scene changed from the countryside to six years later at Prince Gremin’s St. Petersburg palace. Meena and the orchestra kept pouring forth the forlorn music of the bosky pre-dawn duel scene, Lavrov was solemnly helped into a dinner jacket, and just as the opening Polonaise for Act 3 cued the entrance of the noble guests to the ballroom, the baritone exited to the wings. He returned in a fresh garish white-streaked wig, reminding me somehow of the mature Beethoven, and was magnificent from that moment onwards. The wig change had to happen quickly enough so that Onegin could take in the arrival of Gremin and Tatyana – transformed from a forgotten reject into a poised, polished, and radiant princess. For me, it was Lavrov who was more radically transformed. During this humbling soiree scene, he was the person I empathized with. He was the singer I couldn’t peel my eyes away from.

In her youthful scenes, soprano Melinda Whittington as Tatyana didn’t decisively outshine mezzo Leyla Martinucci as her younger sister Olga. Both roles offer a nice range of emotions and feelings. Initially quiet and bookish, Tatyana breaks into bloom upon encountering Onegin, giddily pouring out her love into her letter and impetuously dispatching it to him against her better judgment. In broad daylight, she endures the double agony of realizing the mistake of her impulsiveness and then having it underscored by Onegin’s dignified rebuff. Olga is the cheerful and playful sister, secure in Lensky’s adoration, just a little too prone to teasing Tatyana and goading Lensky’s jealousy until it’s too late. In a matter of seconds, complacency is swallowed by catastrophe. Martnucci brilliantly bridges her flashes of blithe jollity and the sudden onset of shock and disbelief. To a large extent, the impact of the breach between Lensky and Onegin depended on Martnucci’s devastated reaction.

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Whittington was more convincing for me in her quiet formal episodes with Onegin than she was in Tatyana’s great letter scene, singing it well enough but never living it with that intense mixture of terror and exhilaration that can only happen when you’re in free-fall, carried into the void by an overwhelming tide of love. She seemed to be following director Tom Diamond’s instructions station-to-station as she restlessly moved around Tatiana’s bedroom rather than infusing these movements with urgency and spontaneity. My confidence in Whittington’s dramatic capabilities remained shaken until the ultimate denouement, although she was majestic enough with her prince at the palace. When Onegin came begging for love and forgiveness, Whittington was fabulously conflicted, seemingly pleading for release and infuriated by Onegin’s temerity at the same time. As before, there was no restraint in Diamond’s direction, but Lavrov’s complete self-abasement and Whittington’s spasms of rage set the scene ablaze.

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Of course, it was up to bass baritone Jordan Bisch in his cameo as the aging Prince Gremin to justify Tatyana’s devotion and make Onegin’s presumption play like treachery. With a garrulous, avuncular stage presence, wig and makeup designer Martha Ruskai’s best work, and one beautiful heartfelt aria, Bisch did exactly that. It isn’t quite as easy to analyze why Triquet’s gaucherie works so well at the ball before fireworks erupt between Onegin and Lenski, but tenor Johnathan White’s foppery – and AT Jones’s costume design – set exactly the right tone. While I couldn’t explain why subscribers were shunning Tchaikovsky, I could predict an enjoyable Eugene Onegin experience if they gave it a chance, especially if Opera Carolina’s two stars can reach peak form before Act 3.