This was the big one, the one I had really been looking forward to.
Leipzig Gewandhaus Orchestra cond Riccardo Chailly
St Thomas's Boys Choir
Toelz Boys Choir
Sybill Rubens soprano replacing Christina Landshamer
Marie-Claude Chappuis mezzo soprano
Johannes Chum tenor - Evangelist
Maximilian Schmitt tenor
Thomas Quasthoff bass-bar
Hanno Mueller-Brachman bass-bar Christ
Kaus Haeger bass Pilate/Peter/Judas
After much to-ing and fro-ing we gave our 2 spare tickets to the daughters, who didn't mind so much in the end as they did not have to sit with us and risk being embarrassed by our enthusiastic clapping. Everyone we contacted to offer the tickets were either going already or were away.
Note to self: remember it takes about an hour and ten minutes to get to Barbican by car if you want to allow for the ring road nightmare. Not fifty minutes. The car journey was awful, there was actually a bit of violence and it wasn't Dan dishing it out...and we got there just in time...settling down just in time to spot Mr and Mrs H and Mr and Mrs F in the audience.
Fashion note: Mrs H in flowing purple, very elegant. Audience unusually well-dressed, probably because a large proportion may have been (a) German or (b) parents of the choirboys or (c) both.
First impressions: The St Thomas's choir are so sweet in their little sailor collar jackets. Since they have no standard haircut but some have quite long hair a la 1973, the effect is very Little Lord Fauntleroy.
The Leipzig Gewandhaus band is high on women and has lots of young faces.
Further fashion note: you know, I'm not sure the white tie and tail coat thing is going to last much longer. TQ has ditched it completely, going for the Andre Previn/trendy vicar white-rollneck effect instead. As a result the other guys look fussed, hot and fat.
Anyway...oh heck, it was sublime. I don't really know how to start writing about this piece so I will have to stick with thinking about what people were wearing, because just starting to think about the whole emotional and musical experience is too much. Dan was almost in tears in the first half and I was nearly in tears in the second, at "Mache dich, mein Herze, rein" which TQ took exactly as I would have wanted, with passion and conviction. Now I can die. I do not understand the Catholic Herald critic Michael White who thinks TQ's singing "lacks something".
The mezzo was marvellous. A bit quiet from where we were because of the sizeable conductor blocking the sound but the girls, who were on the other side, found her wonderful to watch as well as to hear.
During her last aria however I noticed two little boys in the St Thomas's Choir who suddenly, as little boys often do after 2 hours of sitting very still and being very, very good, found something - I don't know what - irresistibly funny and got the giggles. For the rest of the piece these two - a small blond one and a taller brown-haired one - kept stealing glances at each other and trying not to laugh (unsuccessfully). I think it's a sign of the beauty of the whole evening that I really, really didn't mind, even though the snickering carried on through Mache Dich.., which I'd been waiting for all my life, because in a way these two little rascals simply reminded me of the joy of God's love and how precious children are. In fact, hearing TQ singing that song of sorrow, hope and determination with these two giggly cherubs in the chorus behind him actually made me feel extraordinary happy.
I was quite a bit older than them when I found myself moved to tears by the story of the Passion of Christ and already an adult when I first heard this piece live. I have been afraid that it would lose its impact as I get older and as the atheists get louder and louder, but in fact, the more you focus on it as a story, the more impact it gets year after year. Suddenly these words of passion (literally) and faith become as true as ever they were.
I remember one Palm Sunday going to hear it at the Royal Festival Hall with Robert Tear leading; I remember him doing a fair amount of swaying and emoting to the music - since TQ did a lot of that last night I wonder if perhaps it is a privilege of the most distinguished singer of the evening. TQ also sings along with the chorales.
Final fashion note: thank you to the violinist near the front of the stage whose gorgeous georgette sleeves simply added to the beauty of the moment!
Showing posts with label St Matthew Passion. Show all posts
Showing posts with label St Matthew Passion. Show all posts
Monday, 6 April 2009
Thursday, 12 March 2009
And the kids came too
I had been very much looking forward to last night's concert at the Barbican Hall. First it was Thomas Quasthoff and the Berliner Barock Solisten playing Bach and Handel. Secondly we were going to a press reception so we wouldn't have to buy our own drinks or queue at the bar. Afterwards there was even a teensy chance we might meet the great man himself at another reception later on, if we could hang about. Thirdly, as (I've said before) we first heard TQ 20 years ago when we were just married, there were happy feelings around the whole evening, and it was going to be a relaxed grown up DATE.
Then I looked at the tickets. In some moment of utter madness, Daniel had bought four adult tickets and one under-sixteen one.
It was unthinkable to allow the kids to duck out of coming, the idea of having empty seats right under Quasthoff's nose was shaming. So first the job of persuading the kids to come. Then the panic about feeding them, stopping them having all out blazing rows in the middle of the concert hall...and there was of course no question of hanging about to meet Quasthoff because Certain People have to go to bed.
A TRAUMATIC MEMORY
It's the year 2001 and Aggie is 3. We take her to a daytime folk concert at the Wigmore Hall. In the middle she stands up and says, "This is so boring" in a loud voice. There is nothing so unstoppable as a 3 year old who wants to say something.
....so my date is shot to pieces. I feel incredibly angry with Dan, and I feel even more angry with myself for feeling so uncharitable to my dear darlings. And I feel profound disappointment.
In the end the kids were sweet, loving, patient and kind to their grumpy mother. The music and TQ's performance were heavenly and thanks to a bribe of £10, Aggie was silent, relaxed and attentive throughout the performance. Leo was exemplary (and had NOT been bribed), and of course Edith is an old hand at this, plus she added much-needed grace and ornament to the press reception.
And oh well, so what if we didn't get to meet Quasthoff. I'd have probably made a fool of myself.
KNEEL OR BEND?
For one thing, there is the dilemma on being introduced to Thomas Quasthoff: to go down on one knee, or to bow? By far the preferable option is obviously to go down on one knee. Bending over is bad for the back, looks terrible and also would give the great man an unrequested and unwanted view of wrinkly middle-aged cleavage. Quasthoff has a certain undeniable charm...a woman does not want to look a complete idiot. Not even at my age.
I notice from news footage that the lovely and youthful Mrs Quasthoff has perfected an elegant running genuflexion: there is a film on Youtube of her smoothly dipping, rising and dipping again (for a quick snog) with ease. Obviously the kneeling option is the expert's choice. You are immediately on a level and you are able to maintain good posture while talking.
But what one might term the "Claudia Quasthoff running bob" presents certain problems for those of us not quite so limber. My big fear would be not being able to get back up again without aid, especially while wearing high heels. I have a scary vision of myself flailing about helplessly on the empty acres of the Barbican concourse, still trying to get up long after everyone has gone home.... And another thing. Some of my trousers get a bit tense around the bum in that position: what if there was a terrible ripping sound? Worse still, some of Dan's suits are very old: they might not stand up to the strain.
I suppose it's back to the gym...
But for now back to the concert.
The Berliner Barock Solisten are just wonderful and if they come to London again I want to hear them play again. Most of them play standing up, like management consultants who have been on a management training course about stand-up meetings. They don't have a conductor - their Stradivarius-wielding leader, Rainer Kussmaul (what a name) kind of looks over at the band all the time sending thought waves. So they are a very big small band...and they have a theorbo! There was a big cellist in my way and I could not see it being played, though I could see it sticking up behind the cellists' heads like a crane. It's f-ing huge!
TQ was in really fine voice, or so I thought, of course I know nothing about music. I don't feel I'm hearing exactly the dark golden honey which knocked me sideways all those years ago in Passau - but the voice is still velvety rich. Very appropriate that we were promised "hot chocolate cocktails" after the concert.
Now here's the shocking thing. Exactly as Ben Heppner had to do last month TQ had to begin the concert by announcing that the programme had been printed wrongly, missing out a whole Brandenburg Concerto from the list. "So you will get even more for your money," he joked.
Yep, every time I've been to a concert in the last 2 months something has been wrong with the programme. My suspicion is cutbacks and over-use of inexperienced unpaid interns instead of professionals.
Favourite bits? Hard to say. I surprised myself by how much I enjoyed the Brandenburg C, the BBS's bite and rhythm and sense of galloping along succeeded in conquering the strange feeling one has, on hearing this music, that one is on hold. It is great to hear a BC live instead of tinnily down a telephone receiver.
I adored the six part Ricercar. Bach wrote this to persuade Frederich II of Prussia to pay his son CPE properly. I don't get the logic of this; surely Frederich must have gone away with his lovely Ricercar thinking, "Wow, it's easy to get free stuff out of these Bachs"?
Quasthoff sang with great brilliance and I especially adored "The people that walked" from the Messiah and the aria "O First in Wisdom" from Joshua.
For an encore he sang an intense and moving moment from the St Matthew Passion. It was magical.
Quasthoff complained on regaining the stage at one point that "the stairs are more work than to sing".
Fashion note: Everyone in casual matt black, no ties, black or white. Some of the BBS should bear in mind that black fades with time. TQ in classic musician's black silk roll-neck. I want to get one for Dan.
Audience downright scruffy.
My daughter Edith looked exquisite, of course, and my daughter Agatha looked as exquisite as is possible wearing a hoody with pasta sauce down the front and sheepskin boots.
PROGRAMME:
J.S. BACH
Cantat, BWV 42 - Sinfonia
Cantata, BWV 57 - Ja, ich kann die Feinde schlagen
Musical Offering, BWV1079 - Six-part Ricercar
Cantata, BWV 73 - Ach, unser Wille Bleibt verkehrt; Herr, so du willt, so schicks mit mir
Third Brandenburg Concerto
Cantata, BWV 82 - Mein Gott! Wann kommt das schoene Nun!; Ich freue mich auf meinen Tod
HANDEL
Messiah, HWV 56 - Overture; For behold; The people that walked
Concerto grosso, Op 3 No 2 (HWV 313)
Joshua, HWV 64 - Oh Joshua, both to rule; O First in Wisdom; Sinfonia; The walls are levell'd; See the raging flames
Then I looked at the tickets. In some moment of utter madness, Daniel had bought four adult tickets and one under-sixteen one.
It was unthinkable to allow the kids to duck out of coming, the idea of having empty seats right under Quasthoff's nose was shaming. So first the job of persuading the kids to come. Then the panic about feeding them, stopping them having all out blazing rows in the middle of the concert hall...and there was of course no question of hanging about to meet Quasthoff because Certain People have to go to bed.
A TRAUMATIC MEMORY
It's the year 2001 and Aggie is 3. We take her to a daytime folk concert at the Wigmore Hall. In the middle she stands up and says, "This is so boring" in a loud voice. There is nothing so unstoppable as a 3 year old who wants to say something.
....so my date is shot to pieces. I feel incredibly angry with Dan, and I feel even more angry with myself for feeling so uncharitable to my dear darlings. And I feel profound disappointment.
In the end the kids were sweet, loving, patient and kind to their grumpy mother. The music and TQ's performance were heavenly and thanks to a bribe of £10, Aggie was silent, relaxed and attentive throughout the performance. Leo was exemplary (and had NOT been bribed), and of course Edith is an old hand at this, plus she added much-needed grace and ornament to the press reception.
And oh well, so what if we didn't get to meet Quasthoff. I'd have probably made a fool of myself.
KNEEL OR BEND?
For one thing, there is the dilemma on being introduced to Thomas Quasthoff: to go down on one knee, or to bow? By far the preferable option is obviously to go down on one knee. Bending over is bad for the back, looks terrible and also would give the great man an unrequested and unwanted view of wrinkly middle-aged cleavage. Quasthoff has a certain undeniable charm...a woman does not want to look a complete idiot. Not even at my age.
I notice from news footage that the lovely and youthful Mrs Quasthoff has perfected an elegant running genuflexion: there is a film on Youtube of her smoothly dipping, rising and dipping again (for a quick snog) with ease. Obviously the kneeling option is the expert's choice. You are immediately on a level and you are able to maintain good posture while talking.
But what one might term the "Claudia Quasthoff running bob" presents certain problems for those of us not quite so limber. My big fear would be not being able to get back up again without aid, especially while wearing high heels. I have a scary vision of myself flailing about helplessly on the empty acres of the Barbican concourse, still trying to get up long after everyone has gone home.... And another thing. Some of my trousers get a bit tense around the bum in that position: what if there was a terrible ripping sound? Worse still, some of Dan's suits are very old: they might not stand up to the strain.
I suppose it's back to the gym...
But for now back to the concert.
The Berliner Barock Solisten are just wonderful and if they come to London again I want to hear them play again. Most of them play standing up, like management consultants who have been on a management training course about stand-up meetings. They don't have a conductor - their Stradivarius-wielding leader, Rainer Kussmaul (what a name) kind of looks over at the band all the time sending thought waves. So they are a very big small band...and they have a theorbo! There was a big cellist in my way and I could not see it being played, though I could see it sticking up behind the cellists' heads like a crane. It's f-ing huge!
TQ was in really fine voice, or so I thought, of course I know nothing about music. I don't feel I'm hearing exactly the dark golden honey which knocked me sideways all those years ago in Passau - but the voice is still velvety rich. Very appropriate that we were promised "hot chocolate cocktails" after the concert.
Now here's the shocking thing. Exactly as Ben Heppner had to do last month TQ had to begin the concert by announcing that the programme had been printed wrongly, missing out a whole Brandenburg Concerto from the list. "So you will get even more for your money," he joked.
Yep, every time I've been to a concert in the last 2 months something has been wrong with the programme. My suspicion is cutbacks and over-use of inexperienced unpaid interns instead of professionals.
Favourite bits? Hard to say. I surprised myself by how much I enjoyed the Brandenburg C, the BBS's bite and rhythm and sense of galloping along succeeded in conquering the strange feeling one has, on hearing this music, that one is on hold. It is great to hear a BC live instead of tinnily down a telephone receiver.
I adored the six part Ricercar. Bach wrote this to persuade Frederich II of Prussia to pay his son CPE properly. I don't get the logic of this; surely Frederich must have gone away with his lovely Ricercar thinking, "Wow, it's easy to get free stuff out of these Bachs"?
Quasthoff sang with great brilliance and I especially adored "The people that walked" from the Messiah and the aria "O First in Wisdom" from Joshua.
For an encore he sang an intense and moving moment from the St Matthew Passion. It was magical.
Quasthoff complained on regaining the stage at one point that "the stairs are more work than to sing".
Fashion note: Everyone in casual matt black, no ties, black or white. Some of the BBS should bear in mind that black fades with time. TQ in classic musician's black silk roll-neck. I want to get one for Dan.
Audience downright scruffy.
My daughter Edith looked exquisite, of course, and my daughter Agatha looked as exquisite as is possible wearing a hoody with pasta sauce down the front and sheepskin boots.
PROGRAMME:
J.S. BACH
Cantat, BWV 42 - Sinfonia
Cantata, BWV 57 - Ja, ich kann die Feinde schlagen
Musical Offering, BWV1079 - Six-part Ricercar
Cantata, BWV 73 - Ach, unser Wille Bleibt verkehrt; Herr, so du willt, so schicks mit mir
Third Brandenburg Concerto
Cantata, BWV 82 - Mein Gott! Wann kommt das schoene Nun!; Ich freue mich auf meinen Tod
HANDEL
Messiah, HWV 56 - Overture; For behold; The people that walked
Concerto grosso, Op 3 No 2 (HWV 313)
Joshua, HWV 64 - Oh Joshua, both to rule; O First in Wisdom; Sinfonia; The walls are levell'd; See the raging flames
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