Orff

The Salzburg Mozarteum Orchestra added a benefit concert this morning at the Haus für Mozart, to support providing education for unaccompanied refugee children who have sought asylum in Salzburg. On the program, a single work: Carmina Burana by Carl Orff.

Orff’s unclear relationship with the Nazi regime (some Nazis found him too modern, but others saw in him a connection to Germanic roots, and he happily provided the Nazis music on commission to replace music by Mendelssohn with more Aryan tones) made him an odd choice for this benefit concert. On the other hand, he dedicated himself to education (my own elementary school music training came through the Orff System he had pioneered). In the end, of course, it was all about the music.

Because recordings of “O Fortuna,” which opens and closes this work, have become overused and clichéd, it feels like the Carmina Burana are over-performed. That said, I do not remember ever hearing this cantata live, nor seeing it programmed in concert (the Vienna Volksoper has staged it as a ballet in recent years, to predictably dreadful reviews), and I believe I myself have never heard it performed live before.

Orff’s cantata is masterful, putting mediaeval songs into a modern idiom. The Mozarteum’s chief conductor, Ivor Bolton, drew out the colors from all corners of the orchestra to maximize Orff’s broad palette. Bolton did not make the big numbers bombastic, but instead used them merely to craft large sounds of the many individually-orchestrated instrumentations.

Baritone Günter Haumer showed off his warm-toned singing instrument, although he sometimes had trouble projecting over the orchestra in the bigger sections. Countertenor Markus Forster waddled on stage to act out his single song – the swan who finds himself roasted for dinner. Haumer took the cue after that and started to act out his songs more as well (notably the drunken abbot in the next song – although I found his Italianate pronunciation of the mediaeval Latin somewhat disconcerting, these songs not being fit for the Vatican but for some rather bawdy German monks). Laura Nicolescu handled her soprano solos beautifully. The Chorus of the Music High School of Salzburg and the Salzburg Festival Children’s Chorus augmented the performance.

Hac in hora sine mora corde pulsum tangite; quod per sortem sternit fortem, mecum omnes plangite!

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