There was a lot at stake last Friday night as The Washington Chorus opened its 51st season. The program boasted the highly heralded D. C. premiere of music director Julian Wachner’s major work, Come, My Dark Eyed One alongside the performance of Mozart’s timeless ‘Great’ Mass in C Minor. Pairing these two contrasting works on the same program added considerable musical variety for the chorus, but presented a few interpretive challenges for the vocal soloists.
The opening statement of the 'Kyrie' was sung with conviction by the chorus, supported by the lilting tempo of the orchestra. With each gesture by Maestro Wachner, the chorus was remarkably impressive on the entrance of each ‘Kyrie,’ singing with crisp, accurately placed diction that gave much character to the vocal line. Soprano Marie-Eve Munger's singing was characterized by a lovely, shimmering radiance in her upper register, but seemed uncomfortable in the lower range, avoiding the descending interval leap on the word ‘Christe.’
In the ‘Gloria,’ there was a sense of grandeur that could be felt in the music, with the power of the voices reaching into the center of the hall. In the 'Qui tollis,' the chorus’ phrasing was exquisite, with the vocal line being framed by long arching phrases capped with a beautiful descrescendo on ‘mundi.’ Regal moments for the chorus and orchestra came in the manner of the ‘Jesu Christe’ which was resplendent in its orchestra accompaniment, emphasized by the brass and timpani.
Mozart’s Mass in C minor is a work that makes full use of the florid passagework, which distinguishes the coloratura soprano from all others. Soprano Arianna Zukerman, who was heard previously with the chorus in a glowing performance Mozart's Requiem, seemed reserved in her singing, only revealing the true beauty of her voice at cadence points. In the 'Laudamus te,' Zukerman sang with a beautiful blend of head and chest voice, adding a delightful element of interest to the movement. Unlike the static soprano line of other Mozart works, such as the Requiem, the coloratura of the Mass in C minor did not adequately showcase the enormous gifts of Ms. Zukerman’s instrument.
The 'Et in carnatus est' in turn was the perfect vehicle for soprano Marie Eve Munger. Munger displayed considerable facility, negotiating the fiendish difficulty of Mozart’s showpiece with ease. The trio, 'Quoniam solus sanctus' provided the opportunity to hear the brilliance of tenor Robert Baker, in ensemble with the two soprano soloists. Baritone David Kravitz added the well- rounded resonance of his voice to with the other three soloists in the 'Benedictus.'
Wachner’s Come, My Dark Eyed One is a magnificent musical portrait of the various dimensions between two lovers. The large work performed by The Washington Chorus with soloists soprano Arianna Zukerman, and baritone David Kravitz was an extraordinary experience. The assembled musical forces created a rich tableau that effectively coveyed the joy and turmoil of human connection. Full of rich harmonies, sinful dissonances, sprinkled with exciting percussion, Wachner introduced to many a fresh, new compositional style. In the choral movements, The Washington Chorus' talents were truly put on display in the a cappella movements , such as 'Shall We too Rise' bringing attention to the superb blend and intonation.
The full glory of Zukerman’s soprano voice shined throughout the work. Particularily in 'I Am Wild' Zuckerman gave full way to the dramatic demands of the emotional content [now] singing with a sense of delicious abandonment, unleashing the full vocal supremacy of her instrument. The poignancy of the opening 'Ring Out Bells' was further enhanced by the vigor of the harp and percussion, which mirrored the text. Baritone David Kravitz brought a fervent warmth to the baritone solo 'I ne’er was struck before that hour.’ At the end of the composition, Wachner made wonderful use of the baritone soloist, with Kravitz singing the phrase, 'I carry it in my Heart’ with emphatic delivery.
Using a variety of musical mediums, Wachner’s Come, My Dark Eyed One has a good stake at becoming a welcomed addition to regularly performed works for the concert stage.
Comments