Giovanni Battista Pergolesi (1710-36)
Christmas is nearly upon us and time for the Requiems, the Stabat Maters, to be performed in concert halls and churches up and down the country. Now, more so than ever, audiences, can’t seem to be able to get enough of these religious works. Their familiar musical settings are popular for a reason. Audiences are of course drawn to the sheer gorgeousness of the music. Both lyrical and dramatic, and accessible, even for the first-time concert goer, it is no surprise that Vivaldi, Pergolesi and Handel form an essential part of the choral cannon.
I took myself off to the Queen Elizabeth Hall for an evening of ‘Sacred Baroque’ featuring Pergolesi’s Stabat Mater and Vivaldi’s Gloria. Seeing the Orchestra of the Age of Enlightenment perform together with opera star, Iestyn Davies, was an enthralling prospect . I had recently seen Davies in Handel’s sell out Agrippina at Royal Opera, had been transfixed by his Ottone and his duet with the wonderful Lucy Crowe.
The Stabat Mater is a choral work however, but with noticeable operatic frills. A sober start develops into one of the most dramatic pieces of its kind. It is a medieval hymn about the grief the Virgin Mary felt for her son at his crucifixion. There have been many Stabat Mater musical settings but it is Pergolesi’s composition which most people remember. My first experience of the sublime work was in sensurround sound in a cinema in Paris. I still remember my teenage mind been blown away by hearing it in Milos Forman’s Amadeus.
At the Queen Elizabeth Hall the OAE musicians walked out from the wings. There is something so aesthetically pleasing about a compact baroque ensemble, the period instruments, the neat harpsichord with tiny keyboard; the violins, violas with their reddish hues, wind instruments. All of this in a beautiful setting. I hadn’t been to the QEH auditorium since its tasteful restoration. Wood panelling everywhere and walls that stretch back in accordion-like fashion from the stage to sharpen the acoustic.
Queen Elizabeth Hall
A man walked out, clearly not a member of the ensemble. Had Iestyn Davies, ‘the star draw’ bowed out at the last minute? I held my breath. Soprano, Katherine Watson, was nursing a cold, we were told. But she had decided to go ahead and sing the Pergolesi and not Vivaldi’s Gloria, scheduled after the interval.
The audience’s relief was palpable. Would Watson’s voice hold though? She appeared in a ravishing dress of midnight blue, putting on a brave face. Davies meanwhile, with gelled, sticking out hair, looked positively boyish in his close-fitting suit. With a poppy in his lapel to remind us of Armistice Day, he was all set for Pergolesi’s melancholic piece.
The opening section of Stabat Mater set the sombre mood with each voice taking turns to express sorrow in ever rising and interlocking dissonances. In the duets, Davies, seem to display great emotional intelligence, careful to calibrate his voice with Watson’s soprano. Cold notwithstanding, Watson’s voice is outstanding; lyrical, with a divine quality, and yet she was singing at three-quarter mast. I made a mental note to keep an eye out for her in 2020.
As you would expect, Iestyn, made light of the tricky vocal ornamentation and acrobatics that Pergolesi’s music demands. The counter-tenor’s mastery is awe inspiring, his enunciation superb and all the while he manages to maintain that centred core. Even more fascinating however was to see him connect with the audience, swivelling his body round almost one hundred and eighty degrees, working the whole room. You cannot underestimate the impact of really engaging with your audience these days. It is the secret to building up a solid following which Davies has done and needs to continue to do as he’ll be leaving these shores for a while to sing in the US.
Other highlights were oboe-player extraordinaire, OAE’s Katharina Sprekelsen, showing mastery of her instrument in Albinoni’s Oboe Concerto in D minor.
Soprano, Rowan Pierce meanwhile demonstrated a purity and sweetness of voice in Domine Deus, rex coelestis (O Lord god, heavenly king) in Vivaldi’s Gloria. Vivaldi’s upbeat, celebratory composition was the perfect antidote to the heart-rending Stabat Mater.
The Choir of the Age of Enlightenment, many of whom are soloists in their own right, showed complete command of their craft and their voices were well-balanced throughout. Together with the OAE orchestra, and under Steven Devine’s direction, the overall effect was a heady combination of professionalism and soul.
I very much look forward to the continuation of Orchestra of the Age of the Enlightenment’s Salvation and Damnation season in 2020. See here https://oae.co.uk/season/2019-20-season/ Highly recommended.