Inkless Wells
2 July 2008
by Paul Wells, posted to: Inkless
Wells
Manitoba Chamber Orchestra
with Anne Manson, Karl Stobb
National Arts Centre, 27 Jun 08
I was going to write something longer, but the usual distractions intervened. Just to say that on Saturday I sprung $15 on a hunch for a seat at the Manitoba Chamber Orchestra’s concert at the National Arts Centre. And I had a wonderful evening. Fresh repertoire, a fine soloist, an unspectacular but attentive guest conductor, a chance to discover an accessible but not schlocky young Canadian composer, an ensemble that handles slow and quiet passages with far more authority than many larger and more prominent orchestras, and a concertmaster who brings great drama and musicality to the ensemble sound. Here’s Richard Todd’s review, but frankly I think I liked the whole night better than he did. If our paths cross again I will certainly check out this ensemble again.
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Happy broadcast to you!
30 June 2008
by S. James Wegg,
jamesweggreview.org
Manitoba Chamber Orchestra
with Anne Manson, Karl Stobbe
Classical 96.3 FM building lobby, 30 Jun 08
With Pride week just over and Canada Day only hours away, the New Classical 96.3 FM kept the parties going by continuing its 'Live From the Concert Lobby' series with a performance from the touring Manitoba Chamber Orchestra led by guest conductor Anne Manson.
The audience favourite was a spirited reading of Peter Heidrich’s Theme and Variations on Happy Birthday — a set of composer-inspired versions on the famous tune that young ones adore and their elders begrudgingly accept.
The 22-member ensemble (all strings on this outing which included performances in Ottawa) dug into the music with zest and enthusiasm. The Haydn Menuetto had just the right pulse, the homage to the 'Father of the String Quartet' was individually secure and the freely-lifted grace notes scampered into our ears and the microphones’ with 'coyish' charm.
Typical drama, syncopations and a delectable minor ninth coloured the Beethoven episode. Long legato lines — but more “into the string” please — and marvellous harmonic shifts could well have come from Brahms (yet the inner voices seemed too stagnant by half); the steal away sextet-borrowed adieu was especially fine. Dvorák’s 'American' String Quartet framed the final master-based variant but the best was yet to come.
A delightful 'Invitation to the Dance' sequence kicked off with a toe-tappin’ polka then morphed to a waltzer that couldn’t resist a cheesy harmonic at its close. A brooding ballad followed before a bit of ragtime applied its rhythmic hand to the melody but needed a much lighter bottom and back beats to complete the transformation. No worries. The ensuing tango only lacked the proverbial rose to perfectly top off this adroit metamorphosis.
Then the bandanas flew and the tempo was gradually stoked into a red-hot frenzy as the gypsy schmaltz und drang blazed into a might Czardas that popped the cork and lit candles all around.
Happy birthday indeed!
Earlier, the program began with Wojciech Kilar’s Orawa, a work that showed off players and conductor alike.
It’s a kind of minimalist bolero, the repetitious cells moved steadily forward with near-perfect precision. The balance was admirable (the lobby has remarkably good acoustics, probably more by luck than design) and the mass of “insects” accompaniment added much to the intensity that had unintentionally eased during the cello solo.
The finale of Bartók’s treacherous Divertimento was delivered in a raw-and-ready fashion that afforded concertmaster Karl Stobbe the opportunity to further demonstrate his considerable technique and spot-on intonation; the violas were not as successful.
Observing Manson over the course of the concert, her devotion to the score and artistic integrity were never in doubt. However, her penchant to wield the baton as a small club rather than an extension of the index finger (and, accordingly, of herself) created some of the ensemble’s untidiness (notably the tutti pizzicati in the Bartók). The explosions of her left-hand fingers drew a vigourous response on occasion, but the possibility of those same digits sculpting tone and crafting phrase’s end have yet to be fully plumbed.
This invigorating performance whets the appetite for more.
Winnipeggers are to be envied for having this band in their backyard; Torontonians (and their suburban music lovers) can look forward to a sampling of Manson’s opera abilities in next season’s Canadian Opera Company production of Benjamin Britten’s A Midsummer Night’s Dream.
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Ensemble brings satiny sound to NAC
Sunday, 29 June 2008
by Richard Todd, The Ottawa Citizen
Manitoba Chamber Orchestra
with Anne Manson, Lawrence Vine, Karl Stobbe
National Arts Centre, 27 Jun 08
Especially well known for its performances of modern music, the Manitoba Chamber Orchestra appeared in the National Arts Centre's Southam Hall last night with a program of accessible music drawn from the various eras over the past century or so.
Conductor Anne Manson opened the program with John Estacio's Such Sweet Sorrow, a melodic and bittersweet rhapsody commissioned by the MCO and premiered in 2001.
The orchestra, made up of 22 string players in its touring form, had a satiny sound that allowed for considerable dynamic subtlety and an impeccable sense of ensemble.
These qualities were consistent throughout the evening, not least in the following work, Lars-Erik Larsson's Concertino for Horn and Strings.
The soloist was Lawrence Vine, the NAC Orchestra's popular principal horn player, and the collaboration worked nicely.
Larsson's work is not often heard these days, but when it is, it's almost always well received.
Max Reger doesn't seem to be anyone's favourite composer. For those who really hate his stuff, his Scherzino, also for horn and strings, has the considerable merit of brevity. Well-played and not quite two and a half minutes long, it was easy to take.
The major work on the program, and the major challenge for the conductor and orchestra was Bartók's Divertimento for Strings.
Technically it was a superb performance, and it was mainly cognizant of the composer's idiom. There were times in the first movement when a bit more flavor would have been welcome, but there were also times, especially in the slow movement, when there was an exquisite beauty to the sound.
The short concert ended with Peter Heidrich's clever Happy Birthday Variations. It was a fun piece for listeners able to identify the composers it parodied, but when one thinks of all the glorious music in the string repertoire, it was annoying to hear such a piece of fluff.
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MCO previews music for Ontario mini-tour
Friday, 27 June 2008
by Gwenda Nemerofsky, Winnipeg Free Press
Manitoba Chamber Orchestra
with Anne Manson, Lawrence Vine, Karl Stobbe
CanWest Global Performing Arrts Centre, 25 Jun 08
Attendance: 80
4 out of 5 stars
The Manitoba Chamber Orchestra hit the road this week, headed on a mini-tour of Ontario. Before they left, they gave the hometown audience a chance to hear the program they are taking with them to Toronto and Ottawa. A small group of listeners and supporters came out on Wednesday evening to wish them bon voyage.
Tour conductor Anne Manson brought her forthright style to the challenging and globe-spanning program of music. The evening started with a real grabber: Polish composer Wojciech Kilar's Orawa for Fifteen Strings. From the moment it begins, its repetitive passages engage you, the interplay between parts fascinating. Played with vigorous intensity by the MCO, it builds and blossoms into life, finishing with a crazily frenetic, yet joyful, kick-up-your-heels kind of dance.
Former MCO principal French horn player Lawrence Vine returned for a guest appearance and will play with the orchestra at the National Arts Centre, where he is currently first chair with the National Arts Centre Orchestra.
He was featured in Swedish composer Lars-Erik Larsson's stark Concertino for Horn and Strings. While Vine gave a solid performance, displaying accuracy, excellent control and a pleasing tone, the work itself offers so little expressive variation that it is hard to elicit much interest. The third movement, Allegro Vivace, while still subdued, showed some much-needed signs of life. Vine could have made more of this opportunity, but instead his playing lacked conviction, seeming almost apologetically shy. He needs to emote more to make us care.
His other solo work, the pert little Scherzino by Reger, had the orchestra prancing daintily while Vine played a rather placid tune, not projecting enough above the MCO.
The soul-baring Such Sweet Sorrow by Canadian John Estacio is aptly named with concertmaster Karl Stobbe doing a fine job of interpreting this emotional piece. Long, sinuous phrases, passionate intent and balanced ensemble work made this extremely moving.
It was a thrill to hear the viola section in Hovhaness' Armenian Rhapsody. Their amazing precision made them sound like a single player. Then came the cellos, led by former (1977-81) WSO principal cellist Gary Stucka and they accomplished the same feat. The entire orchestra was really into this ethnically rich work, with purposeful playing, full of conviction and gusto.
Everyone had a chuckle at Peter Heidrich's Happy Birthday Variations, a fancifully imaginative set of stylized take-offs on the timeless song. Borrowing snippets of works by Haydn, Mozart, Dvorak and more, Heidrich pieced together an amusing concoction that traces the history of music from the baroque to the tango, while still retaining enough of the birthday ditty for us to recognize it.
The MCO is in tiptop shape for its tour and will surely represent Manitoba well to our neighbours to the east.
You can catch them live from Ottawa this afternoon on CBC Radio Two's Studio Sparks with host, fellow Manitoban Eric Friesen.
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MCO ends anniversary season with mostly high notes
Friday, 30 May 2008
by Gwenda Nemerofsky
Manitoba Chamber Orchestra
with Scott Yoo, Marc-André Hamelin
Wwestminster United Church, 28 May 08
Attendance: 790
Hamelin/Yoo: 5 out of 5 stars
MCO: 4 out of 5 stars
Talk about going out with a bang. The Manitoba Chamber Orchestra ended its 35th anniversary season on many very high notes Wednesday night in a performance that deserved a big 'A' for effort.
Guest conductor Scott Yoo led the charge, and pianist extraordinaire Marc-André Hamelin added the finishing touches to a concert that left the audience breathless with excitement.
Much of this is due to the unbridled exuberance and style of Yoo himself. He passes this on so well to the musicians — and they respond to his direction with enthusiasm and effort. Rarely have we heard them play with such passion and commitment.
Having Hamelin as soloist for this final night was a stroke of genius on the part of the orchestra's programmers, and so was the choice of repertoire. It is a testament to the MCO's knowledge and trust in their audience that they felt confident putting the complex and enigmatic Concerto for Piano and Strings by Alfred Schnittke on the program. This multi-layered and chameleon-like piece of musical drama challenges listeners and musicians — in different ways.
Opening starkly with single notes from the piano, Hamelin sat very upright in a standard chair, not a piano bench, in supreme concentration that rendered his face nearly expressionless.
The work is ever-changing, but seemed second nature to Hamelin. He easily switched from a sweetly pastoral melody line (accompanied by eerie whines from the strings) to the crashing chords, beating the bejeezus out of the Yamaha Grand.
The orchestra had its moments too. Contrasting some traditional harmonies were Psycho-like squeals from the violins, with basses growling below.
This concerto travels down so many grimly colourful pathways — Hamelin's fingers seemed to have springs attached to them as he proceeded playfully through a demonic gallop. His trills rivalled the fluttering of hummingbird wings. And while the concerto may have been complicated and shifting, there was one thing that remained constant — Hamelin's complete and utter commitment to the performance.
The other major work on the program was a brave reading of Schubert's String Quartet, No. 15 — Death and the Maiden. This transcription for larger ensemble presents the added challenge of making sections sound like single players — easier said than done.
Synchronicity has been a struggle for the MCO's violin section for some time, and on this night, while they certainly gave it the old college try, they didn't always meet the demands of the work. There were just too many imprecisions — in technique, tone and tuning — to make this a completely enjoyable listen.
The cello section, on the other hand, gave a clinic in togetherness and balance.
The finishing presto retained the most flavour from the original scoring and was a true chase, with wonderful nimbleness and fleetness of hands all around. Yoo's intensity resulted in a gutsy interpretation, with a rousing scurry to the end that drew cries from the appreciative audience.
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MCO, Goodman deliver uneven homecoming
Thursday, 3 April 2008
by Gwenda Nemerofsky
Manitoba Chamber Orchestra
with Roy Goodman, The Winnipeg Singers
Westminster United Church, Tue, 1 Apr 08
Attendance: 800
3 1/2 out of 5 stars
The sign outside Westminster United Church read: "No joke — Roy Goodman and the Manitoba Chamber Orchestra." After all, it was the evening of April Fool's Day and former music director Goodman had returned after three years' absence.
Since his departure for greener stages in England and Holland, the MCO has done quite well with a series of guest conductors, reaping a variety of results.
Tuesday night's concert boasted all the ingredients of an excellent concert — the homecoming (albeit short) of a popular conductor, the Winnipeg Singers as guest artists and a varied program of baroque music.
But good ingredients do not always combine to make a successful meal, and in this case, only a few courses proved satisfactory.
Things opened promisingly with Corelli's spirited Concerto Grosso in D Major, Op. 6, No. 4. Seamless, powerful interchanges between concertmaster Karl Stobbe and principal second violin Simon McDonald were exciting and assertive. Mainstay Eric Lussier sat centre stage at the harpsichord, his purview comforting for any local baroque enthusiast.
It was during the featured work, Dixit Dominus by Handel, that things started to go sour. Written by Handel at age 22, this psalm setting has many of the strengths of Handel's later works going for it, including exquisite melodies and harmonies, while presenting vocal challenges that proved the undoing of some usually reliable soloists.
The MCO attacked the opening chorus with great gusto (if not precision from the violin section) and the Winnipeg Singers entered with confident attack, making for an uplifting start. One has to wonder how many calories Goodman burns with his exuberant conducting style.
Both alto Kirsten Schellenberg and soprano Marni Enns had difficult nights. The two usually dependable soloists struggled uncharacteristically. Schellenberg seemed to have a catch in her voice and experienced intonation problems, and Enns also faltered. The MCO violin section did not hold up its end of the bargain during Enns' solo, with tuning problems that did her a real disservice.
Soprano Karis Wiebe joined Enns for a duet that was serviceable but didn't inspire. Bass David Klassen and tenor Floyd Gadd fared better, with Klassen's resonant bass sounding solid and projecting well.
Choruses, though, were uneven in quality. While some were effective, with singers finding their way admirably through tongue-twisting text, others featured fortes that sounded harsh instead of rich and powerful. The individual performers were just that — individuals, not meshing as they should.
Some of this was due to spotty direction. Goodman spent a great deal of time with his head buried in his score or multi-tasking by playing the organ. In the works with which he was more familiar, there was a marked improvement in the performance.
Fortunately, Bach's reworking of the Kuhnau motet Der Gerechte Kommt Um provided a sweet ending. Peaceful, pensive and well controlled, it featured sustained, flowing notes in the strings and rich sonority from the singers. The closing "Amen" was a lovely whisper.
Percussionist shakes church pews
Friday, 7 March 2008
by Gwenda Nemerofsky
Manitoba Chamber Orchestra Chamber Night: Evelyn Glennie
Westminster United Church, Wed 5 Mar 08
Attendance: 920
5 out of five stars
She's not called Dame Evelyn for nothing. The exalted Officer of the British Empire (recently upped to 'Dame Commander') made a stop in Winnipeg this week, giving a truly unique solo performance as part of the Manitoba Chamber Orchestra season.
The stocking-footed, master percussionist had the church pews shaking and stained glass windows rattling as she gave a virtual clinic to a sold-out audience, playing marimba, maracas, wood blocks, snare drum and more. The reverberations and volume proved to be too much for this historic venue — a piece of plaster actually fell from the ceiling during the electronica-backed maraca piece Temazcal, by Javier Alvarez.
Crumbling structure aside, this was a concert of rare quality and unforgettable distinction. Don't let Glennie's petite stature deceive you — she has formidable endurance and strength to go along with her inimitable artistry. No one plays like her. No one. She is the embodiment of the instruments she plays and they are as much a part of her as her flowing mane of now-gray hair.
Her program was made up entirely of new music, with works showcasing Glennie's virtuosic technique, musicianship and versatility.
Encore Music provided the instruments for the performance, except the ones used for the opening number. A quick shopping trip to a local Home Depot and Glennie had what she needed for To the Earth by American composer Frederic Rzewski. Five different-sized ceramic flower pots were the only instruments called for, and Glennie used them in every possible manner. Two wooden sticks struck, tapped and stirred the pots, while Glennie recited the accompanying poem — homage to Mother Earth, with her Scottish lilt. This meditative opener eased us into the excitement to come.
Two pieces by Serbian percussionist Nebojsa Zivkovic showed Glennie's lightning reflexes, as flying mallets pounded aggressively in Fluctus for low F marimba and a syncopated and jazzy Ilijas had the marimba singing traditional folk tunes.
Sechs Miniaturen by German composer Matthias Schmitt were six charming short pieces displaying a variety of marimba techniques and musical expressions. Using the four mallet method developed by Leigh Howard Stevens, Glennie produced flowing phrases, full of wonder and discovery, romance and subtlety. The sensitive interpretations showed the marimba in a new light.
But it was the lone emerald green snare drum that stole the
show. Icelandic composer Askell Masson's Prim explored the endless
possibilities of the instrument that Glennie proclaimed would be her choice
if stranded on a desert island. She exposed a riveted audience to a myriad
of sounds, from the most delicate to thunderous, hitting the rim and shell
of the drum as well as the skin itself. Just when you thought she couldn't
get any faster, she kicked it up another notch. Spellbinding.
The Dame Commander is definitely in command.
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Evocative Indian music alluring on frigid night
Thursday, 21 February 2008
by Gwenda Nemerofsky
Manitoba Chamber Orchestra
with Anne Manson, Kiran Ahluwalia
Westminster United Church, Tue 19 Feb 08
Attendance: 625
4 out of five stars
The exotic touched down in the unlikely venue of Westminster United Church on Tuesday night as singer/composer Kiran Ahluwalia and friends were guest artists for an evening of evocative Indian music.
On a truly frigid night, nothing could have been more welcoming than the sojourn to other climes provided by the Manitoba Chamber Orchestra. India, Hungary and Armenia offered momentary getaways from Winnipeg at its least hospitable.
Born in India and raised in Canada, Ahluwalia learned her craft in her birth country and has written much of her own repertoire. She began, however, with Jo Dill by Vithal Rao, arranged by Manitoba composer Glenn Buhr, who combined prolonged, slow phrases in the MCO's strings (distinctly western) with Ahluwahlia's pure and slightly warbly stylings for a contemporary twist.
Her voice is sweet and strong, with only a touch of the nasal quality associated with Indian singing. As she sang, she made gently graceful hand motions, her floating arms reaching out and adding to the expressiveness of her renderings.
Despite the subjects about which she sings — unrequited love, optimism and wanderlust — Ahluwalia has a vulnerable, almost child-like quality that is inexplicably alluring.
Yakeenan, which tells the story of a man who yearns for adventure, opened with Gurpreet Chana drumming on the tabla before Ahluwalia entered with riveting ululations. The adventuresome spirit came through loud and clear as conductor Anne Manson led the MCO in a rhythmic and driving arrangement by Buhr.
Buhr's new works, Chant of Wind and Thunder and Chant of Water and Sky, received world premieres, the latter a beautiful, pastoral song representing an idyllic day at Lake of the Woods. Ahluwalia sang in unison with the strings as modal changes transitioned into an Eastern tune, cellos taking the melody. The song came to rest softly, with Ahluwalia's lovely vocals soaring above.
The only unfortunate aspect of the performance by Ahluwalia and her ensemble — Rez Abbasi, guitar; Nikku Nayar, electric bass; Ashak Bidaye, harmonium; and Chana — was the fact that very few audience members could watch them as they played.
By custom, they were seated on the floor of the stage, effectively eliminating them from view. The consequence of this was most evident at the end of their performance, when only the audience seated in the far right aisle of the church (closest to the performers) gave a standing ovation. Perhaps a small platform would have remedied this.
The MCO finished the evening with a stunning performance of Bartok's folk-inspired Divertimento for Strings. Under Manson's vigorous direction, the orchestra dug right into the generously meaty string writing, with concertmaster Karl Stobbe and principal cellist Yuri Hooker stepping up with gutsy and sonorous solos.
This was the best playing we've heard from the MCO in a long time.
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Versatile saxophone sings in Harrington's hands
Thursday, 17 January 2008
by Gwenda Nemerofsky
Manitoba Chamber Orchestra
with Scott Yoo, Allen Harrington
Westminster United Church, Tue 15 Jan 08
Attendance: 750
4 out of five stars
When Belgian instrument-maker Adolphe Sax invented the saxophone around 1840, he probably didn't have the slightest idea of the impact it would have. A part of symphony orchestras as early as 1844, its versatility and sensuality took it from marching bands to big bands, blues and jazz clubs and, on Tuesday night, to the stately stage of Westminster United Church.
Doing the honours was Winnipeg saxophonist par excellence, Allen Harrington, who performed with the Manitoba Chamber Orchestra under the very able direction of American conductor Scott Yoo.
The evening started off with a bang, as Harrington lent his considerable technique and mellifluous tone to Alexander Glazunov's mood-strewn Concerto for Saxophone and Strings, Op.109.
Harrington made this a fascinating tour through the many temperaments of the instrument -- at times, pensive, spirited, showy or peaceful. His was a most musical interpretation, while Yoo led the orchestra, which sounded especially full, through its own lyrical journey.
The cadenza was a technical masterpiece, full of rapid arpeggios, but still thoughtful in its transitions. This was followed up by a playfully accelerating series of intervals and gigue-like theme that Harrington whipped off with apparent ease.
Through run after run, and phrase after phrase, he kept his composure while giving listeners an exciting and riveting performance.
The soprano sax came out for Heitor Villa-Lobos' Fantasia para Saxophone, with a first movement that swung and swayed, heralding the spirit and heat of Brazil. The second movement featured a fluid, impressionistic melody, and Harrington's sweet, subdued tone added even more mystery and magic. He wrapped things up nicely with the frenzied finale, full of undulating trills and panache.
After a 25-minute intermission, the MCO performed Mendelssohn's grand Octet, Op. 20, even grander when one considers that he was only 16 when he composed it. Originally scored for double string quartet, this larger ensemble version was very satisfying in its fullness, and it benefited greatly from Yoo's exuberant direction.
The work opened with the requisite grandeur, nice long phrases flowing into one another. Unfortunately, some of the violins, in their effort to play con fuoco, sacrificed intonation. With parts that were so exposed, this affected the entire performance.
This is an equal-opportunity work, giving every section a moment in the sun and an opportunity to contribute to the whole. Even the often-overlooked double basses shone, providing nice strong anchors for the upper parts.
The peppy chase of the Scherzo was handled adeptly and it was fun to watch Yoo lean forward, arms down by his sides, still getting the most out of this hard-working group.
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Orchestra acts as tour guide on exotic musical journey
Thursday, 06 December 2007
by Gwenda Nemerofsky
Manitoba Chamber Orchestra
with Alain Trudel, Paris To Kyiv
Westminster United Church, Tue 4 Dec 07
Attendance: 700
On Tuesday night, the Manitoba Chamber Orchestra showed that it has survived the recent debacle with conductor-elect Anu Tali and emerged unscathed with a superb concert of ethnic diversity.
As guest conductor Alain Trudel said in his introduction, the audience was invited on a voyage — and the orchestra played our most gracious hosts.
The most exotic music of the evening came from two sets entitled Paris to Kyiv, after the multicultural world music ensemble of the same name. Combining smoky and sensuous vocals by Alexis Kochan, bandura and sopilka playing by Julian Kytasty, viola and guitar stylings by Richard Moody and Daniel Roy's percussion, this group sounds like no other.
Described as "Ukrainian soul music, Canadian Prairie-style," the quartet mixes music from ancient cultures with contemporary techniques for a mystical effect. While Kochan's pure, effortless singing is the real draw, the two instrumental numbers showed Kystasty and Moody to be versatile musicians, with Dance One sounding almost like a courtly Renaissance dance, quirky and fun. The catchy rhythm of Stone Age Carol had audiences stamping their feet in appreciation.
There was one distraction during this group's performance — Moody's full-body vibrato. While the rest of the ensemble focused on their performance, Moody seemed unable to stay even remotely still, shaking and gyrating as he played in a self-conscious manner that detracted from the overall performance.
The rest of the evening was devoted to works by composers from Norway, France and Poland. Edvard Grieg's Two Norwegian Airs, op. 63 are based on folk melodies and are imbued with all the appealing characteristics of the Old World. Serious and nostalgic, they speak of the beauty of the northern landscape that is Norway.
Sumptuously smooth phrasing in the cello section added to the pleasing subtlety of the first air. Pastoral and subdued throughout, it was full of lush harmonies, making it that much more emotional.
The second air featured a decidedly rustic theme. Trudel kept the mood light but purposeful, and the orchestra responded with very sensitive playing. The kick-up-your-heels country-dance ending was almost a jig, with violins fairly prancing through the playful score.
Old Polish Suite by Andrzej Panufnik was an unexpected surprise. Based on 16th- and 17th-century Polish works, it is beautifully scored for strings. Characterized by stately and elegant dances alternating with slow, almost dirge-like interludes, it is a rewarding and easy listen. The final Dance III was a hearty folk dance, full-voiced and exciting but never getting out of hand. It exuded a kind of civilized patriotism.
The evening finished with Albert Roussel's Sinfonietta for Strings, op. 52. The MCO gave this vigorous and often dissonant work a polished reading, with Trudel precise and controlled in his direction. Plaudits must go to the violin section for their cohesive playing, despite tricky intervals and unusual twist and turns.
It was suitable to end the evening's journey in France — and with those sudden final chords also perhaps say, "Au revoir, Anu!"
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Singers meet challenges of sombre Shostakovich
Thu 25 October 2007
by Gwenda Nemerofsky
Manitoba Chamber Orchestra
with Alain Trudel, Patricia Green and Robert Pomakov
Westminster United Church, Tue 23 October 2007
Attendance: 600
3.5 out of five stars
If the medium is truly the message, then Dmitri Shostakovich is a master of communication. His mood-steeped Symphony no. 14, op. 135, a sombre song cycle for soprano and bass, is a personal protest against the spiritual imprisonment that was life in the Soviet Union at the time it was composed.
The Manitoba Chamber Orchestra, under the attentive direction of affable guest conductor Alain Trudel, tackled this difficult — for musicians and audience alike — 60-minute work. Nevertheless, it is considered "one of the masterpieces of the 20th century," Trudel said in his introduction.
The overriding theme of the work is death. Shostakovich is said to have believed himself to be on the verge of death while writing it.
Two splendid Canadian singers joined the MCO for this performance: mezzo soprano Patricia Green and bass Robert Pomakov. Both were up for the challenges this work presented and well-suited for their roles. Pomakov's rumbling bass was gentle yet insistent in the opening De Profundis, setting the scene of a graveyard. The double basses echoed him exactly, drawing us in.
Green's first entry was in the complex Malagueña, its quasi-Spanish rhythms embellished by castanets, whip and xylophone. She wasn't afraid to attack full force, her strong, crystal-clear delivery carrying her through this threatening tale of death never leaving.
Loreley gave us a rare chance to hear the double basses in action. Paul Nagelberg and Meredith Johnson had to reach over their heads to play their absolute lowest notes, and Pomakov was at his most dramatic and ominous in this movement.
Fred Liessens on xylophone and Tony Cyre on drum played the grotesquely playful and faintly military introduction in Les Attentives, after which Green sang heartbreakingly of a soldier about to die. There is never any let-up in this work.
Special mention goes to the cello section and first chair Yuri Hooker, who did themselves proud in O, Del'vig, Del'vig! a wonderful showcase for the instrument. Highlighted by long, lovely phrases and singing tone, this was superior section work and provided the sweetest moments in the piece.
The first part of the evening offered a taste of several works by lesser-known composers. The Concerto for Strings and Percussion by Camargo Mozart Guarnieri began with busy intensity in the violin section, played with apparent effort. Most of the players could keep up with the frenetic pace, but not all. The plodding middle movement proved that Guarnieri did not possess the same gift of melody as that of his namesake.
Pomakov's French diction was excellent and he put lots of feeling into Le Souvenir by Guillaume Couture, but balance was problematic, with the orchestra a bit intrusive. The short and delightful Serenade by Ontario composer Gena Branscombe was a perfect vehicle for Green; her pure voice easy and unforced. Her well-controlled vibrato and fresh expressiveness kept this light, yet romantic.
There were no smiles on the faces of the audience as they applauded Tuesday night — a sign of the effectiveness of the performance, which CBC recorded for broadcast on Remembrance Day.
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Double Ehnes + Mozart = twice the joy
Sat 15 September 2007
by Gwenda Nemerofsky
Manitoba Chamber Orchestra, with James Ehnes
Westminster United Church, Wed 12 September 2007
Attendance: 850 (sold out)
4 out of five stars
What could be better than an all-Mozart concert conducted and performed by internationally known, Manitoba-born violinist James Ehnes? That's an easy one: two concerts. The Manitoba Chamber Orchestra's 2007/8 season opener Mozart/Ehnes double bill wrapped up on Wednesday night.
This was a live reprise of Ehnes' acclaimed 2006 recording of the complete Mozart solo violin works, celebrating the 250th anniversary of Mozart's birth (and Ehnes' own 30th). MCO concertmaster Karl Stobbe was one of the musicians selected to play on this recording as part of Ehnes's hand-picked Mozart Anniversary Orchestra.
Ehnes stepped onto the stage, and without a word of introduction started to play the Rondo in C Major, K. 373. The audience was immediately enveloped in Ehnes's sweet tone and expression, the tidy yet sinuous phrasing carrying us through Mozart's sumptuous tunes. No need for words here — the playing said it all.
Ehnes did little actual conducting, and when he did, it was rather subtle, with occasional use of his bow as a baton. While playing, he resorted to nods or bobs of his head and slight body movements. This worked just fine, as the MCO had no trouble staying with Ehnes, providing a perfectly balanced backdrop for the soloist.
The ensemble sounded bigger and fuller than one might expect from its modest 28-person roster, but is just the size Ehnes says he prefers for these works. They certainly played their best, with their new artistic director Anu Tali listening and watching intently from the audience.
The Violin Concerto No. 4 in D Major, K. 218 opened with Ehnes' assured playing, demonstrating his intimate familiarity with all the works on the program. He whipped them off with limber technique, building momentum, then letting it go in a flash of brilliance. The virtuosic cadenza of the first movement featured an exciting double-stop passage. It is interesting to note that Ehnes wrote his own cadenzas.
The andante began slowly, with Ehnes' prolonged notes changing and developing into finely honed treasures. This was utter romanticism; phrases that literally made the heart jump.
Playing his prized 1715 Stradivarius, Ehnes delivered the final rondeau with a cheery playfulness. Melody tumbled out in delightful segments, crafted to perfection. The MCO answered with equal intensity and accuracy. Soloist and orchestra exuded the good humour Mozart intended.
Ehnes attacked the Concerto No. 5 in A Major, K. 219 with more passion than he had all night, leaving the controlled playing of earlier works behind. He truly let his hair down, performing with flair and freedom. The allegro's cadenza was replete with familiar phrases, modulated and gussied up into a technical showpiece. The adagio flowed endlessly in its finely wrought lament and the strongly rhythmic rondeau finished things off with a stormy chase, effectively ornamented and played with vigour by the MCO.
This Mozart project is obviously dear to Ehnes' heart. He has done a masterful job of bringing it to audiences here and abroad.
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Triumphant homecoming
The Brandon Sun
Fri 14 September 2007
by Joanne F. Villeneuve
Manitoba Chamber Orchestra, with James Ehnes
Western Manitoba Centennial Auditorium, Thu 13 September 2007
Brandon is one lucky town. In fact, it ranks right up there with New York City, London, Paris, Montreal, prague, Sydney (the one in Australia) — in James Ehnes' performance calendar, that is.
Luckily for local music lovers, this genius of the violin was born here and his parents still reside and work in Brandon.
"I haven't played that many times at home recently," said the musician, whose homes are now in Philadelphia and Florida, in an interview earlier this week. "So, it's always exciting to do that and it's a unique side of me — I don't think I've ever played a Mozart concerto in Brandon, much less all of them and to be directing them as well. It's something new."
Last night, Ehnes walked on stage with the presence of a movie star, his excitement contained.
However, at the enthusiastic, welcoming applause, he appeared almost bashful.
Once the first of the program's three Mozart concertos was launched, he was all business and transported the listener with him.
His performance explained — yet again — why his concerts usually sell out, why he gets rave reviews regardless of the continent on which he plays and why he has ardent fans the world over.
The spotlight was definitely on Ehnes, though he was surrounded by the very talented musicians of the Winnipeg-based Manitoba Chamber Orchestra.
The violinist adroitly performed the solo parts, and with the same aplomb, conducted the orchestra, which nestled him in sound, perfectly reading his body language, modeling his inflections and conversing as a well-honed unit with his musical discourse.
I virtually never cry, but I almost did at least three times during this aural feast. There were passages of such great clarity, warmth and heart-wrenching delivery that I was moved to tears.
Ehnes' cadenzas were sublime — I held my breath in order to not miss one note — his tremolos sang, his fast passages ran effortlessly, and most remarkable for their warmth and depth were his long, sustained notes.
Such mastery of the bowing is very rare.
The first of these splendid works -- K. 207, K. 211 and K. 216 was written when the composer was a mere 17 years old, while the others followed in quick succession two years later.
Despite this, there is nothing immature about them and Ehnes' interpretation puts into relief the growth and sophistication from the first through the third.
I simply cannot wait to hear the final two this evening!
Much like Narnia's Edmund who cannot get enough Turkish Delight, I yearn for more.
A point can be made that the instrument upon which Ehnes plays — the ex-Marsick Stradivarius of 1715 on loan from the Fulton collection — produces an ethereal sound, but I doubt that just any violinist could accomplish this the way Ehnes does.
I imagine that the 31 year old could make the cheapest of violins sound like Turkish Delight, and so this beautifully crafted instrument is the perfect vehicle for his talent — his perfect musical partner.
Together — as the violin seems like an extension of Ehnes — they produced Mozart's cleverly written runs, poignant pianissimos, crisp double-stopped sections and achingly beautiful phrases with unparalleled warmth, calmness and intimacy.
Finally, not only to perform these works from memory — on Tuesday and Wednesday evenings, Ehnes played all five concertos in Winnipeg — but also simultaneously conduct an orchestra, is a feat of which few can boast.
Most soloists only perform one such work in an evening. After three concertos last night, Ehnes showed no signs of fatigue.
It is not surprising that the recorded version of this repertoire won Ehnes his fourth Juno Award last spring.
Violinist James Ehnes and the Manitoba Chamber Orchestra return to the Western Manitoba Centennial Auditorium at 7:30 this evening to complete the cycle of Mozart violin concertos and perform a few other shorter works.
Tickets can be purchased at the WMCA box office.
CBC Radio Two is recording this second of two Brandon concerts and the Bravo network has been taping Ehnes' performance back home, both for future broadcast.
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Virtuoso violinist more than earns his ovations
Thu 13 September 2007
by Holly Harris
Manitoba Chamber Orchestra, with James Ehnes
Westminster United Church, Tue 11 September 2007
Attendance: 900 (sold out)
5 out of five stars
The Manitoba Chamber Orchestra looked no further than its own backyard for a superstar soloist to open its new season. Brandon-born violinist James Ehnes took the stage Tuesday night to perform the first of two concerts that featured all five violin concertos (1773-75) composed by a youthful Mozart. Serving double duty, Ehnes also conducted the orchestra, moving seamlessly between the roles of maestro and soloist with his customary understated flair.
The dashing 31-year-old performer's star keeps rising and growing brighter all the time. Currently based in Florida, he continues to carve out a major international career for himself, winning a steady stream of awards and accolades, including a 2007 Juno for classical album of the year. Every concert he gives has the buzz of a rock event, attracting legions of adoring fans that seem to worship his every note.
One concert would be more than enough. Two programs — with Ehnes performing nearly four hours of music from memory — boggle the mind, because they greatly challenge the performer's stamina and endurance. A soloist usually plays a single concerto in a program. Five-plus works over two nights is a test that only a virtuoso of exceptional artistry (not to mention nerves of steel) can hope to deliver. Ehnes's technical mastery and pitch-perfect intonation was just the beginning. From his breathless, arching phrases that pierced the stratosphere in the sunny Violin Concerto No. 1, in B- flat Major (K207), to the limpid, suspended Adagio theme in Violin Concerto No. 3, in G-Major (K216), his playing thrilled the audience, capturing the imagination with an interpretation that was wholly authentic and vital.
The second star of the evening was Ehnes's fabled, $4.5-million Stradivarius (1715) violin, currently on loan to the artist. The sweet, honeyed tone of this instrument must be heard in person to be fully appreciated, with its warm palette of sound and expressive dynamic range coaxed by the soloist with the subtlest of bowing strokes. The fact that the instrument itself is 60 years older than the very music it was playing is humbling.
As expected, the audience leapt to its feet for a prolonged
standing ovation, demanding several curtain calls from Ehnes, who last appeared
with the MCO two seasons ago. The two concerts will be repeated tonight and
Friday in Brandon's Western Manitoba Centennial Auditorium, giving the Wheat
City its own chance to welcome — and laud — its hometown hero.
MCO's 2008/09 season is sponsored
by The Great-West Life Assurance
Company.
Support has been received from Media sponsors The
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© 2008 Manitoba Chamber Orchestra