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 In
short, this was a far more satisfying performance of the Mass than
the last one I heard  .
It isn't that it has anything very distinctive to say, but that
the entire ensemble - choir, conductor and orchestra - went through
the Mass with unity and good sense. Though there were slips here
and there, and the soloists were a mixed bunch, these were unable
to damage my enjoyment.
As
is startlingly but pleasantly usual nowadays, the Philharmonic Chorus
was in excellent ensemble and sound. The individual sections are
crisp and clear, each in firm and pleasing tone, with unity of articulation
and volume. Tonight, the choir of 45 was arranged across the stage,
left to right, S1-T-A-B-S2 - which makes a really beautiful sound.
The singing style comprised soft accents (I hardly heard any excessive
sibilants, which is good) and fluid articulation backed by full-bodied
tone - it was all appropriately "authentic" and perfectly
acceptable, I'm sure, even to someone insisting on a modern sound.
The
sopranos sang with a ringing top range without being in any way
piercing, glowing yet not too bright. The lower voices were solid,
but pliable - wow, it would be really great to hear these people
in a Handelian oratorio (other then the big M, please). Massed runs
were thick but clear, the Et resurrexit exhibiting the thrill
of the occasion, the Kyrie(s) solid with solemnity, the Sanctus
well-wrought in fugue, the Cum Sancto concluding in exuberance.
Of
the soloists, I think no one will disagree that the hero(ine) of
the night was British mezzo-soprano Serena Kay. From the Laudamus
te through to the Agnus Dei, she sang with a most attractive
voice, lightly firm in texture, clean, well-projected with clear
words. She imbued a kind of formal beauty into the concert whenever
she sang - and it seemed sometimes as if the Mass had turned into
an extended cantata for solo mezzo, such was her presence.
Tenor
Oliver J. White, also British but more vocally obvious may I say
- his attractive tone is quintessentially English, which floats/flies
very nicely in Baroque music. Despite an obvious slip in the Benedictus,
from which he recovered well, his composure throughout his parts
are admirable. Soprano Elizabeth Cragg (it is interesting, incidently,
to see how sopranos are getting very slim these days; both present
tonight were.) has a small voice, and certainly did not quite have
the command of the stage as did her partner Kay. Nevertheless, it
is a bright and pleasing voice, and the best part was that both
women singers matched each other's tone very well, as displayed
in their unified rendition of the Christie eleison.
Bass-baritone
William Lim, no stranger to the vocal stage in Singapore, has a
rather too deep-set voice for the purpose of Baroque music - I could
not discern his words at all, which tends to reduce the singing
into a series of low rumblings. Reuben Lai was more impressive -
he showed the same measure of composure which White has, and his
articulate reading of the Et in Spiritum is a credit to the
performance.
The
Philharmonic Chamber Orchestra is, I guess, the latest name for
this shifting ensemble of familiar faces. In the recent past I generally
do not expect much from the makeshift orchestra which accompanies
either the TPC or the Singapore Lyric Opera; but lately there are
some very sure signs of improvement, and even better - consistency.
 Such
is Lim Yau's take on the style of the music that I, a longtime supporter
of period-style performance, did not notice that something was *not*
"amiss" with the orchestra's playing - it was stylistically
very appropriate. Whether it is the soft accents (as in the choir's
style), or the balanced instrumentation (eg. one and only one double-bass;
the three trumpets were muted with a transparent screen), the oboes
d'amore in session, or even the hard sticks on the kettledrums,
I was very pleased with their sound.
If
they are somewhat shy during the concert, with just the tiniest
hint of hesitation, I do not blame them - this is not easy music.
Speaking of which, much credit to the three courageous trumpeteers
playing music not meant for normal modern trumpets. Their performance,
though not perfect, was distinguished by good direction, consistently
good pitching, and best of all, the energetic pulse of the Baroque.
First Trumpet Tay Jiun Ngiap, wielding the piccolo trumpet, got
the great majority of his scariest passages in the Gloria
right, without any hesitation I could detect. Bravo.
Other
soloists also deserve their share of the credits, including lead
oboe Joost Flach during the Qui sedes, 1st flute Miyako Takizawa
(be a little more brave, and don't worry about mistakes), and timpanist
Tan Loke Chuah - the latter I think is about the best "Baroque
kettledrummer" I know of in Singapore.
A
few stumbles here and there: solo horn Mr Han Chang Chou from the
SSO caused a bit of concerned as he sped away in the Quoniam,
leaving the continuo slightly behind, while the Et in Spiritum
had to be restarted due to incohesion among the continuo. But all
in all, the
important continuo distinguished themselves for the most part. Led
by Shane Thio on his energetic harpsichord and handphone-like chamber
organ (I preferred the former), they provided, for example, a consistently
musical base that was a credit to the balance and colour of many
key pieces.
Finally,
the conductor Lim Yau - as he continues to prove, his leadership
with the TPC and its companions grow from strength to strength.
Though his conducting tonight isn't flamboyant - and it shouldn't
be - there is a vertical sweep, incisive exuberance and formal grandeur
to the music's interpretation which I much enjoyed. Perhaps there
isn't enough of a certain religiosity to the performance, but then
again, this is a concert hall and the B minor Mass is a bit of a
showpiece.
Well
done to all. Please, how about Handel's Joshua or some Bach
secular cantatas?
During
the interval, CHIA
HAN-LEON had
a cup of coffee, a fudge cake, one tuna sandwhich and three chicken
mayo sandwiches. Thanks man, cos I hadn't eaten dinner then.
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17.11.2000 © Chia Han-Leon
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