Weber, Wagner, Mendelssohn, Berlioz
I just spent a surprisingly unfulfilling evening with the Mozarteum Orchestra under music director Riccardo Minasi. The orchestra actually sounded great… so I suppose I’ll need to blame the uninspiring mezzo-soprano Kate Aldrich.
Aldrich appeared for two sets, closing both halves of the concert. In the first part, she sang the Wesendonck Lieder of Richard Wagner. Initially, her voice came out coarse, marking a contrast from the wonderful warmth of the orchestra. She gradually settled into it, but never quite captured much of the emotion. She closed the concert’s second half with the Death of Cleopatra by Hector Berlioz. Now her voice was fully ready, but the songs dragged. Part of this may be the songs themselves: Berlioz wrote them to conform to the expectations of a French jury in order to win a five-year stipend in Rome. Since the French generally don’t seem to understand music (and had repeatedly rejected Berlioz before – he was probably far too creative and consistently talented a composer to be understood by his countrymen), I might mark this down to Berlioz intentionally writing dull music. Might a better vocalist have done more with it? Perhaps, but perhaps not.
The orchestral selections came out better. The concert opened with two pieces by Carl Maria von Weber: the overture to his opera Euryanthe and the funeral march and overture he wrote for Schiller’s play Turandot. I do not believe I had heard the second one before, but it was instantly recognizable since Hindemith wrote his famous variations on it. The concert’s second half opened with The Hebrides by Felix Mendelssohn – if not quite as evocative as the performance I heard of this concert overture (more like a tone poem) by the Philadelphia Orchestra in October, the orchestra still gave us a treat with gorgeous solo lines rising from a full-bodied ensemble. More of that and less of her next time, please.