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REVIEW A Timewarp Christmas with the ASO
CONCERT REVIEW “Christmas with the Atlanta Symphony Orchestra.”
The Atlanta Journal-Constitution
The annual “Christmas with the Atlanta Symphony Orchestra” concert arrived in these parts in the late 1960s under Robert Shaw, and pretty much everything about it has been enshrined as a Christmas tradition — not unlike the “Nutcracker” camped out a few blocks down Peachtree Street, but with a decidedly older audience demographic.
Standing still can be dangerous for an orchestra, and the rows of empty seats on Thursday were a poignant reminder of the price to be paid. But those who showed up had a swell time, thanks partly to Norman Mackenzie’s meticulous conducting.
Just as Shaw spent several years as choirmaster for hyper-disciplined maestro Arturo Toscanini, Mackenzie spent 14 years as Shaw’s protege. The baton has passed — um, so to speak — and you can hear Toscanini’s rapid pacing and careful textures still alive here. The ASO Chorus sang a capella for part of the evening, exposing their glorious tonal quality and expressive range.
In Berlioz’s “Shepherds’ Farewell” (from “L’Enfance du Christ”) and Bruckner’s “Ave Maria,” the group’s trademark unity of voices comes through. The basses and baritones are still the great strength of the group, with pedal tones that resonate like a pipe organ. You can compare this performance to old recordings under Shaw and hear how little things have changed.
The other highlight of the evening was the Morehouse College Glee Club. They got their first shot almost halfway into the program, and immediately seized the audience’s attention with a passionate performance of the spiritual “Oh, Po’ Little Jesus.” Soon they were back, singing “Betelehemu,” a Christian folk carol from West Africa. It’s a wild ride, with drumming, clapping, choreographed gestures, and a distinct African sound, performed with the authenticity and energy that mark this ensemble.
The Gwinnett Young Singers sang several carols from Britten’s exquisite “Ceremony of Carols.” Britten strictly insisted on boy trebles for these works, and you can hear his point when listening to this mostly girl group, despite their enthusiastic effort. But they came through sweetly with Vaughan Williams’ “Lullaby” (from “Hodie”).
In the carol “So Blest a Sight,” emerging Atlanta soprano Arietha Lockhart displayed lovely tone and diction, though her voice isn’t quite large enough to soar over the orchestra. Soon after her solo, she put on a robe and slipped back into the chorus, of which she is a member.
Two excerpts pirated from the ASO’s performance next week of “Messiah” were an expedient programming choice unworthy of a great orchestra, which might at least be expected to find new material for each program, even if the “Hallelujah” Chorus is guaranteed to get the audience on its feet.
Bach stole the show, as is his way, with “Dona nobis pacem,” an excerpt from his B Minor Mass, so finely sung that it could be recorded live in one take. Like his mentor Shaw, Mackenzie comes to these works with a strong religious background, and the ecclesiastic reverence shines through. But his “Nutcracker” excerpts were unusually lively, too, in pointed contrast to the recording being broadcast for the ballet at the Fox.
Permalink | Comments (2) | Categories: Classical Music
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By emp
December 7, 2007 1:49 PM | Link to this
Do you think anyone at the ASO will be blogging on this topic? Traditional shows, scores produced hundreds of times. Is this really art?
By Joeventures
December 7, 2007 3:32 PM | Link to this
emp:Of course it’s art. No concert is ever exactly the same. When you have two different conductors, there will be two different styles or interpretations. The real question is whether a played-back recording of music is even music.
But more to the point — as much as I am personally not a fan of Christmas music, Hanukkah music, or really any of the generic holiday music out there — I used to participate in Georgia State University’s holiday concert. There was one year in particular when one of the professors told us of a couple of ragged people who approached him after the concert. These two folks had tears in their eyes, and they thanked him for such a wonderful concert. It turned out one of the students had a couple of spare tickets and gave them to a homeless couple right outside the Rialto.
Whatever anyone thinks of this music that’s regurgitated year after year over muzak systems, there is still nothing like attending a live performance.
I know some people like to think of art as political — something that ignites heated discussions on important issues of the day. And I don’t see anything wrong with that. But there is also the kind of art that reminds people of what they have in common, and brings communities together. All the holiday traditions that take place every year help fill that role.