Choral-orchestral concert spectacular

REVIEW

By WILLIAM FURTWANGLER
Post and Courier Reviewer
Wednesday, June 4, 2008



The long awaited big Spoleto Festival USA choral-orchestral concert Tuesday night found Gaillard Auditorium packed and conductor Joseph Flummerfelt in fine fettle, inspired and inspiring.

photo

The Post and Courier

Joseph Flummerfelt

The choice program with the first-class orchestra and the unbeatable Westminster Choir, augmented with the Charleston Symphony Orchestra Chorus, responded to Flummerfelt's intuitive leadership with a bracing "Te Deum in C Major," by Franz Joseph Haydn.

Coming from Haydn's last years, which also produced the sublime oratorios "The Creation" and "The Seasons," this short "Te Deum" made for religious drama with the performers rising to the occasion.

Also on the short side was Johannes Brahms' "Naenie," Op. 82, a funeral ode. Flummerfelt led the same forces in a noble reading of this tribute to those who died before their time. Written at the same time as Brahms was working on his Piano Concerto No. 2, the "Academic Festival Overture " and the "Tragic Overture, "Naenie" is more subtle and softer than those three works.

Ludwig van Beethoven's "Mass in C Major," Op. 86, was composed at the time he was working on the Fifth and Sixth Symphonies and 15 years before the famous "Missa Solemnis." The Mass was a flop when premiered.

Flummerfelt, with the orchestra and combined choir and chorus, was joined by soprano Jennifer Check, mezzo Sandra Piques Eddy, tenor Raul Melo and bass-baritone Stephen Morscheck. The result was a spiritually uplifting performance.

Check has a bright, hall-filling voice that she used for effect. Not as big a voice, Eddy sang in a manner as heartfelt as one could want in a smooth, golden voice. Both sing in Rossini's "La Cenerentola" in the festival, with Eddy in the lead.

Melo's voice was excellent, but when he turned away from the audience, its tight projection caused a drop in volume. Morscheck employed his big, rich voice directly, also filling the auditorium. The ensemble work with the four soloists was nearly ideal.

The audience let the performers know their reaction — a standing ovation and several curtain calls.

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