ASO performs Britten’s massive 'War Requiem'

Benjamin Britten’s “War Requiem” is a powerhouse work that utilizes a large orchestra, a chamber orchestra, chorus, children’s chorus, and soloists. Written in 1961 for the dedication of England’s rebuilt Coventry Cathedral, bombed by the Nazis, the work is a setting of the Latin mass infused with the poems of Wilfred Owen. A British soldier in World War I, Owen was killed at age 25, days before the Armistice. The vivid poems reflect the strong anti-war sentiments of both Owen and Britten. The composer has made this into one of the great pacifist works of the twentieth century. And the writing is imbued with Britten’s trademark brass flourishes and woodwind figures.

This is the kind of piece – big and modern but tonal — that ASO music director Robert Spano does uniquely well. It is obviously a big advantage that it showcases the ASO’s fabled chorus. And the orchestra has an important history with the work, having recorded it under Robert Shaw in 1989. Many consider that recording the best ever made of “War Requiem,” surpassing the original version conducted by Britten.

The “War Requiem” is something of an open artwork. If the artists are gifted, it can be approached in different ways. Spano gave us an edgy reading, brassy, with emphasis on the percussion, while Britten and Shaw were somewhat more solemn and subdued. To my ear, Spano’s approach is exciting, helped by the fact that his orchestra was so well prepared and his choruses were on top of their game. Despite his extensive history with Britten, this is Spano’s first time conducting this work.

The ASO Chorus, led by Norman MacKenzie, still retains the immaculate, unquavering intonation from the Shaw days. And here it showed off so much more, moving from almost inaudible whispers to thundering crescendos, staccato attacks, and chattering on pitch.

The Gwinnett Young Singers sang sweetly from a broadcast booth at the very back of the upper balcony, accompanied by an organ.

The work calls for three soloists, accompanied by a chamber orchestra. Evelina Dobraceva, making her American debut, sang the soprano part with a distinctly Russian tremulous sound and a gleaming top. The voice simply soars above the forceful orchestra. The elegant baritone Stephen Powell sang the part originally created for the immortal Dietrich Fischer-Dieskau, who was, not incidentally, German. Powell’s voice is large and warm.

But the evening belonged to the tenor, Anthony Dean Griffey, who gave a riveting and moving performance. He has an otherworldly sound not unlike that of Peter Pears, Britten’s partner and muse. But Griffey’s voice is more beautiful, with fine colors and textures. Griffey’s performance of the part has now surpassed that of Pears, as happened earlier with the title role in Britten’s operatic masterpiece, “Peter Grimes,” also created for Pears.