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Thursday, May 1, 2008
ASO Chorus Gets Ready for Berlin
CONCERT REVIEW Atlanta Symphony Orchestra. Thursday in Symphony Hall. Program repeats Friday and Saturday at 8 p.m. 404-733-5000, www. atlantasymphony.org
The Atlanta Journal-Constitution
The Atlanta Symphony Orchestra last performed Hector Berlioz’s Requiem in the fall of 2003, a few weeks before the ASO’s illustrious Chorus traveled on its own to Germany for its debut with the Berlin Philharmonic.
It was heady stuff. They sang Britten’s “War Requiem,” conducted by Donald Runnicles, the ASO’s principal guest conductor who was also making his Philharmonic debut . The concerts were a triumph, with the chorus proving itself a peer to the Philharmonic, typically described as the world’s best orchestra.
From a group that doesn’t suffer fools, a Berliner musician offered his highest praise by declaring the ASO Chorus’ singing a match for the Philharmonic’s own burnished, golden string section in tone. The ASO Chorus and choral director Norman Mackenzie had stepped decisively onto a global stage. There was immediate talk of a second invitation.
It’s finally about to happen. This weekend in Atlanta Symphony Hall, Runnicles, the ASO and Chorus perform the Berlioz Requiem, a preparation for another Runnicles-ASOC-Philharmonic performance in Berlin, May 15-17. (One hopes the Atlanta Symphony orchestral musicians, who will again stay home, won’t start nursing a grudge.)
As expected, the chorus Thursday night was polished to sleek, unblemished perfection. At turns warm or fierce, it’s without a weak section: the sopranos were as angelic at the flute-accompanied opening of the “Dies Irae” as the men were hauntingly pastoral for the “Quid sum miser.” 200 voices strong, this is a formidable instrument.
Tenor Joseph Kaiser, who’s also on board for the Berlin gig, sang the “Sanctus” from the top balcony, invisible to most of the audience. His sound is masculine and bright, with a wide vibrato and a teardrop in his tone — an affecting apparition of a voice.
Runnicles, however, still seemed to be working through his interpretation. Some sections lacked punch, some gravitas. In the rhythmically eccentric “Lacrymosa,” for example, his tempos were too quick, the phrases too cursory, and the chorus too tonally homogenized. This combined to dilute the (potentially) devastating impact of the climax, one of several viscerally explosive moments in the score. Most of these matters will likely tighten in subsequent performances, at home and at the Philharmonie.
Leos Janacek’s “Sinfonietta” open the evening. Both the Berlioz and Janacek exploit spatial relationships between sections of the orchestra. Both go heavy on the brass.
The Janacek begins and ends with powerful fanfares — produced by multiple trumpets, tubas and timpani — which lap in waves over each other. With no chorus on stage, the 18 brass players sat in the upper choir risers, distant from the rest of the band and all the better to blast to their lungs’ content.
There were moments of ragged ensemble, though Runnicles had a sure hand in the Janacek, as idiosyncratic a composer as Berlioz. The conductor found the composer’s operatic voice — weary yet hopeful, where phrases are often drawn from Czech dance rhythms —in every rough-hewn lyrical gesture.
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First Look at Stephenie Meyer’s “The Host”
The Atlanta Journal-Constitution
Stephenie Meyer’s new novel “The Host” is due to hit bookstores next week, and I know from experience there are some serious Meyer fans out there who sometimes stop by this blog. I got an advance review copy of the novel, and my review will run in our Sunday Arts & Book section on May 11.
But I wanted to give her fans the advance work - it was more than I had hoped for. I’m not as big a fan as some of her “Twilight” series of young adult novels — a swoony saga of forbidden love between a handsome, noble vampire and a high-school girl — but I get why they appeal to so many women.
“The Host” is Meyer’s first novel aimed at adults, but really, it’s a lot like “Twilight.” It’s very emotional, well-told but not all that sophisticated stylistically, and creates a few great characters who carry the narrative. In this case it’s Wanderer, an alien who is part of an invading force taking over the earth. It’s like “Invasion of the Body Snatchers” from the point of view of the Body Snatchers. And of course, because it’s by Meyer, it’s a romance.
At more than 600 pages, there were times when I thought the story was treading water and wanted it to get to it. But the last 100 pages were a blast, and made me forget my earlier impatience.
“The Host” straddles two genres of fiction that don’t always get a lot of respect: science fiction and romance. Fans of both genres know, though, that the better examples of each deal with what even the highest reaches of literature always aspire to: Exploring what it means to be human.
I could go on, but since no else has read it, I don’t want to risk too many spoilers.
Are there any Meyer fans out there who are approaching the release of “The Host” next week like Harry Potter fans used to anticipate those books? Making plans to buy an early copy, maybe take off work or unplug the phone?
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