Tag Archives: Edinburgh Festival Chorus

EIF: Florian Boesch | Czech Phil

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Queen’s Hall & Usher Hall, Edinburgh

If every Festival needs to reinvent the wheel to justify the event’s continuing existence – and the 75th one has had to embrace some distinctive post-pandemic thinking in particular – the inclusion of the comfortingly familiar is also an important ingredient of its success, especially at the box office.

Almost a decade ago, Austrian baritone Florian Boesch and pianist Malcolm Martineau had a Spring residency in Glasgow performing the three song cycles of Schubert, and in 2016 they performed Die schone Mullerin as part of the EIF’s Queen’s Hall series. Winterreise – the most harrowing of the three – has a performance history at the Festival dating back to 1952, when Dietrich Fischer-Dieskau sang it with Gerald Moore in the Freemason’s Hall.

This year we have already heard three of the 24 songs as part of Anne Sofie von Otter’s recital, but Boesch and Martineau are the current gold standard for the cycle. The baritone seems to become the desolate protagonist in his anguished rendering of these songs, taking his listeners on what is – for once accurately deploying a very tired modern cliché – a captivating journey. Martineau is with him every step of the way, pausing or hurrying on as required, sensitive to the most subtle shifts of tone.

Less than half way though, with the last lines of Irrlicht (Will-o’-the wisp) – “Every river will reach the sea; Every sorrow, too, will reach its grave.” – Boesch almost appeared too exhausted to go on. The next song is, of course, Rest.

His voice is a huge instrument, but that power was only occasionally hinted at; instead it was the pianissimo enunciation of the most pained expressions of loss in Wilhelm Muller’s poetry that lingers longest in the mind.

The Czech Philharmonic also has a long and distinguished performance history at the Edinburgh International Festival, as has already been explored in an interview feature on VoxCarnyx. The music they brought this year, fulfilling a booking intended for the 2020 Festival, is also of a piece with concerts in previous years, and the first of them was entirely of Czech music.

Saturday’s began in appropriately celebratory style with Dvorak’s Carnival Overture, as fine a statement of the relationship between Chief Conductor Semyon Bychkov and the musicians as you might wish – huge forces making an immediate impact with precision playing.

The programme ended with Janacek’s Glagolitic Mass, featuring Aidan Oliver’s Edinburgh Festival Chorus, three Czechs and one Russian as soloists and some terrific organ-playing. The organist, Daniela Valtova Kosinova, soprano Evelina Dobraceva and tenor Ales Briscein understandably won the biggest cheers at the end, alongside the choir and the orchestra’s brass. Bychkov shaped a work that is often seen as eccentric with great care, and the impact of both the Credo and the Sanctus was huge.

The conductor’s wife Marielle Labeque and her sister Katia were the soloists on Martinu’s Concerto for Two Pianos and Orchestra, and they are also no strangers to the Festival. There was vast energy in their playing in the outer movements, but also great tenderness in the Adagio in partnership with the orchestra’s winds. An encore of the fourth movement of Philip Glass’s Concerto for Two Pianos, which they premiered with the LA Phil and Dudamel, was a terrific bonus.

All Festival-goers will be hoping that the next EIF director, Nicola Benedetti, renews the invitations to the Czech Phil, Bychkov and Florian Boesch and Martineau. Is it wrong to hope that the orchestra might be invited to play Prokofiev and the baritone asked to sing Gershwin and Kurt Weill?

Keith Bruce

EIF: Opening Concert

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Usher Hall, Edinburgh

In any typical year for the Edinburgh International Festival, Carl Orff’s Carmina Burana would hardly be considered a genuine heavyweight opener to the Usher Hall orchestral series. Even for this historic 75th anniversary event, and in its more immediate relevance as the back-to-life adrenalin shot after two years of pandemic suppression, it is a cantata more generally regarded as a populist blast – to some extent the German composer’s one-hit wonder – offering more quick-hit than deep-rooted resonance.

It avoided that pitfall on two counts. This high-octane programme opened with Respighi’s Pines of Rome, affording a psychedelic wonderland of orchestra colouring, moments of seething harmonic adventure, and yes, its own brand of unadulterated thrill. The Orff, itself, had as its messenger the ravishing combination of the BBC SSO, Edinburgh Festival Chorus, NYCOS National Girls Choir and a glorious trio of soloists under Sir Donald Runnicles’ magisterial baton. No absence of emotional impact, then, but justified by its general excellence.

The Pines of Rome – a lustrous sequence of responses to Roman life set against the binding metaphor of the ancient trees that dominate its landscape, and one of the Italian composer’s trilogy of Rome-inspired works – is a stirring creation, its sound world reeking of Mediterranean warmth, historical mystery and sun-filled optimism. 

As such, it was right up Runnicles’ street. He inspired a swashbuckling performance, red hot from the offset, a kaleidoscopic feast that explored every level of aural titillation from quietly succulent to feverishly terrifying. No more so than in the final moments, a seemingly limitless crescendo in which the gradual addition of rearguard offstage brass (spread liberally behind the dress circle audience) and the thundering might of the organ drove the decibel level to delirious heights. 

This was adequate preparation for the primal force that is Carmina Burana. For so many of us, more used to the deliberately modest stage forces preferred in the recent exit-from-Covid months, it was a glorious sensation – the massed vision of the orchestra and choirs made all the more electrifying by the vivid combination of red-shirted NYCOS choir and black-clad adult choir and orchestra.

The singing was just as exhilarating, the wholesome precision of the Festival Chorus offset by the pristine projection of the youngsters, especially in such famously fervent numbers as Tempus est iocundum. Not every moment held perfectly together, with some panic-rushing by the men near the start and moments of under-projection from the women, but the sheer vocal ebullience that spilled out from the stage, and from the resplendent SSO, was mesmerising.

Then there was the tastiest icing on the cake from three perfectly-matched soloists, the soprano Meechot Marrero, tenor Sunnyboy Dladla and baritone Thomas Lehman, whose theatrical antics brought a lascivious edge to what were already riveting musical presentations. Marrero and Lehman hammed up the Cours d’Amours no end, flirting mercilessly in the process. Dladla, too, realised the dramatic potential in his caricature Roasted Swan showpiece.

It was exactly what the doctor ordered, intoxicating escapism to wash away the prevailing gloom and welcome joy, mindless or not, back into our lives. 

Ken Walton

Image: Ryan Buchanan

EIF: Edinburgh Festival Chorus

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Edinburgh Academy Junior School

Henry Purcell, in his wicked moments, had fun with canons. On the face of it, they were innocent trifles, but combine the layers of successive voice entries and hey presto, tawdry language emerged from the wilful collision of syllables and vowels. 

In Aidan Oliver’s delightful final day presentation at the Festival, featuring members of his Edinburgh Festival Chorus and small instrumental ensemble, the air remained pure as he and his musicians breezed their way through a short but engaging canonic journey.

It was as much a journey through time. The opening Sumer is icumen in, rooted in 13th century origins and famous for its rousing presence in cult film The Wicker Man, paved the way for a variety of styles and treatments from 17th century Thomas Ravenscroft (his rousing fusion of Three Country Dances presented simultaneously as a round), to one of 20th century Benjamin Britten’s “Friday Afternoon” songs for children (his somewhat darkened version of Old Abram Brown), to the even more up-to-date sounds of Errollyn Wallen, Richard Crossland and Abbie Betinis.

Wallen’s Rice and Beans – and Plantains Too takes its structural inspiration from the Britten, but otherwise is laced with the eclectic contemporary twists this composer always utilises to energising effect. The title refers to a favourite dish from her birthplace in Belize, and here was a performance that served it up a treat, rhythmically infectious and with smiling countenance. It was also a neat little appendix to Wallen’s opera Dido’s Ghost, one of this year’s earlier Festival successes.

Other contemporary gems on Sunday included Betinis’ plaintive Be like a bird, with its surreal whistled conclusion, Crossland’s whimsical Liverpool Street Station, and Bob Chilcott’s updating of Tallis’ Canon, which takes an old favourite and wraps it in a blanket of melting, thick-set harmonies. 

One of the benefits in hearing the EIF Chorus in miniature is to experience it in a scale of repertoire it would otherwise not have time for. When do Holst’s partsongs ever make it onto an international festival platform? Three of them did so here, exposing their lush sentiment and charm.  

All of this could so easily have seemed like a casual miscellany. But thanks to Oliver’s personable and informative spoken links, the whole came together as seamless, directional and enjoyable. 

And it ended on a familiar note, Pachelbel’s Canon, but with the addition of Thomas Campion’s poem “Come, o come my life’s delight” as a neatly interwoven text, arranged by Oliver himself, and – as has so often been the case in this semi-outdoor Festival – a timely intervention from the outside world. On the words “come then and make thy flight” an outgoing plane roared overhead. Perversely. I’ve quite enjoyed these moments.
Ken Walton