By Douglas Neslund
He stood as in prayer, for a long half minute after the final tritone wafted out into Walt Disney Concert Hall while over two thousand hearts beat as one, half afraid to breathe and half not wanting to break the sacred stillness. Finally, James Conlon lowered his baton to allow tumultuous release of the collective tension.
The vehicle for this triumph was Benjamin Britten’s War Requiem, Opus 66, arguably the greatest composition of the 20th century, but elevated by Maestro Conlon pre-performance to one of the monuments of music of all time.
Britten’s 100th centenary is drawing to a close, and his music has been heard by many organizations throughout the year. The impact of this man’s creative genius has been rightfully elevated to new heights.
The impressions left by War Requiem are deeply felt through the perfect marriage of his music and the poetry of Wilfred Owen, himself a victim of World War I, a poet who would certainly have been Britain’s poet laureate of the time had he survived just one more week, bits of Scripture, the Latin Mass for the Dead, and Britten’s own pacifist convictions (reversing the Abrahamic story of the imminent sacrifice of Isaac by slaying his son … “and half the seed of Europe, one by one” … instead of the proffered Ram of Pride, and in so doing, pointing a dagger of condemnation at the rulers of the countries involved in the “war to end all wars.”)
This perfect amalgam of inspired
genius requires a large orchestra, a chamber orchestra, a large adult choir, a
children’s choir, and three soloists. The original cast was purposefully drawn
from enemy countries in World War II: the Soviet Union, Germany and the United
Kingdom; the intended soloists, Galina Vishnevskaya, Dietrich Fischer-Dieskau
and Britten’s long-term partner, Peter Pears, with the premiere performance
taking place in a bombed-out Coventry Cathedral. Subsequent performances spread
throughout the world.
On this occasion, the artists were: The Colburn Orchestra and members of the USC Thornton Symphony; participating choirs included: USC Thornton Chamber Singers, USC Thornton Concert Choir, Bob Cole Conservatory Chamber Choir, Cal State Long Beach, Cal State Fullerton University Singers, Chapman University Singers, New Zealand Youth Choir, and the Los Angeles Children’s Chorus. All singers were superbly prepared by their own respective directors and assembled by LA Master Chorale’s Grant Gershon, delivering a marvelous feast of often challenging music. The instrumentalists were in as close to professional form as pre-professional players could possibly be. To single out any individual or orchestral choir would be unfair to the rest, but the brass and percussion were simply marvelous, as was the chamber orchestra and leader Radu Paponiu. Bravi tutti !
Perhaps no trio of soloists will be able to replicate the original trio, probably because so many have heard the iconic recording produced in 1963 that left such an indelible impression. But the three soloists at this event were of high quality. One could quibble about tenor Joseph Kaiser’s quavery delivery of the final phrase of Dona nobis pacem that Peter Pears made forever the standard, but as drama, Mr. Kaiser achieved his own measure of success. Baritone Phillip Addis displayed a voice rich in tone and textual awareness; he and Mr. Kaiser bracketed the conductor’s podium, while soprano Tamera Wilson was placed, as in the original, up in the front-center of the chorus women. Such placement tends, even in acoustically excellent Walt Disney Concert Hall, to dissolve low-tessitura passages into the multitudes around her and the orchestra in front of her, so that her impact lay in the high-altitude opportunities, such as the opening of the Sanctus. One would have liked to hear her down onstage with the gentlemen.
Aside from one choral entrance of the sopranos that appeared to be missed, the music making was superb. For those whose choral “ears” are attuned to the Los Angeles Master Chorale, one had to remind oneself that maturity adds weight to a voice, and any comparison with these relative youth only demonstrates how great their training has been; the future of choral music is bright.
Britten’s truly creepy orchestra scoring of the duet “Strange Meeting” sets up a metaphorical encounter of killer and killed in the afterlife. After a few exchanges, one states, “I am the enemy you killed, my friend,” while the children’s chorus chants In Paradisum. What a profound cross-reference of text and music! It would be difficult to find in all serious music the equal in context and drama.
For all the underlying irony and bitterness of music and text, Britten interjects moments of pure, radiant joy, as in the Hosanna of the Sanctus, thus giving yet another dimension to the drama. Yet the first sound we hear is also the last: that dreaded tritone, an augmented fourth interval: C to F#, and with that, the War Requiem ends as it begins, steeped in fear of futile, future wars.
Photos from Wikipedia from various sources
Photos from Wikipedia from various sources