February, 2006 - Nr. 2
Mozart, Mozart, Mozart, everywhere!
Sybille Forster-Rentmeister
"Music, in the best sense, does not require novelty: nay, the older it is, and the more we are accustomed to it, the greater its effect."
That
is Johann Wolfgang von Goethe’s point of view on music. One can be
reasonably sure that Mozart did share, not just a first name, but also in
part this sentiment that Goethe expressed about music. Yet if that were his
only idea on the subject then, surely there would also be disagreement,
because innovation would not take place, changes would not occur. And we do
know for a fact that Mozart was capable of changing, of reinventing himself
as a musician, styling music in as many different ways as he saw
possibilities.
On the other hand all of Mozart’s music had something old about it. Being a master of translating human emotion into music anyone can find something familiar, since it is emotion that we all share on any given subject. Thus Goethe’s’ somewhat rigid point of view on music covers a broad spectrum after all.
It has been said that the 3 greatest composers of all times are Mozart, Mozart and Mozart. That is Mozart, the opera composer, Mozart the symphonist, and Mozart, the composer of concertos. And the Mozart celebrations of the Toronto Symphony Festival highlighted them all. Already the first in a series of fabulous concerts fulfilled the promise of celebrating all 3 Mozarts. Peter Oundjian opened the evening called "The Singing Voice" with the overture from The Abduction from the Seraglio, and was rewarded with rich applause.
Next the pleasure of hearing and seeing Isabel Bayrakdarian, soprano, was experienced with "Parto, ma tu ben mio" from La clemenzoa di Tita, K.621. This more mature work asked for a rich emotional interpretation, which was delivered brilliantly by the wonderful young singer, who was rewarded with a standing ovation.
It must be said that it often is astounding how even an unindoctrinated audience instinctively knows when a performer failed to communicate fully, and how it richly and spontaneously rewards the ability of a performer to come across.
This distinction happened with soloist Victoria Mullover, who played the next piece with technical perfection, yet failed to get emotionally involved. Performed was an early Violin Concerto No 4 in D Major, K.218. The playful nature and impish quality of the concerto never quite made it across the footlights. Luckily the orchestra under Maestro Oundjians baton made up for this shortcoming, but the applause remained only polite.
After the intermission Mozart’s Don Giovanni Overture had put us into the mood for more of Bayrakdarian’s brilliance with 2 arias from the same opera. And again the audience responded with exuberance.
The rest of the evening was filled out with Symphony No. 31 in D major, K.297, also called the Paris Symphony. The audience was thrilled having been part of such a rich musical evening full of joy. All the way out of the Roy Thomson Hall, along the street and in the parking lot one could hear hums of familiar bits of tunes. There were smiles and happy faces all around, and people appeared to have a spring in their step, even though the hour was late.
A musical play about Mozart
Next in the series we heard a collaboration of the TOT and Michael Schade, Tenor, who developed the concept, with "A life in Letters", an unusual and playful approach to the times of Mozart, making use of some of his contemporaries acting out and singing his works as though they were competing for the honour to perform at a concert in London. All the fun and banter between performers- like tenors and baritones were incorporated. The audience even got a taste of what it was like to ride in a horse drawn carriage. We heard and finally met a very young Mozart, portrayed by Michael Schade’s daughter Sophie.
The evening passed so quickly, was so interesting and there was never a doubt about the brilliance of the performances. Colm Feore, actor, as Johann Peter Salomon was simply superb. Karina Gauvin, soprano, displayed besides her fabulous voice amazing acting talent as Nancy Storace, famous singer of Mozart’s time, and she played the two gentlemen like a fiddle. Michael Schade, as Valentine Adamberger played and sang with his famous boyish charm through his part, where the tenor is not necessarily the winning party; and Russel Braun, baritone, as Francesco Benucci was most engaging.
The interaction with the orchestra and Peter Oundjian as well as the audience was continuous and led to, what else, standing ovations, more than well deserved one might add!
With this idea and presentation Michael Schade succeeded in his desire to enlighten and entertain his audience at the same time. He also brought together some of Canada’s finest talent, including Donna Feore as stage director for the dramatisation of this sung play.
Schade also held an interview styled talk during intermission in the lobby just above the music store. Unfortunately the sound system failed to allow most people to hear it.
It would be desirable if this type of concert would become a trendsetter. The combination of music and the written word illustrate like nothing else the life and time of a composer in a most immediate way. It also allows the performers to shine in an all-round fashion, reminding us that the world can be a better place, at least for a while at a time.
While we are still contemplating this last, still ongoing season the next one has been prepared and will be announced shortly. Please go to www.tso.ca or our website at www.echoworld.com to keep yourself informed.
Last but no least very special mention must be made about the amazing success Peter Oundjian has made of his engagement as the TSO’s Music Director. There truly is a discernable newer direction for the orchestra and the public is responding favourably.
Thank you, Maestro!
