SEEN AND HEARD INTERNATIONAL

Katherine Fuge (soprano)
Barbara Kozelj (mezzo)
James Gilchrist (tenor)
Christopher Purves (bass).

Mozart - Overture Don Giovanni,

Mozart - Piano Concerto No 25, K503

Mozart - Requiem


The Academy of Ancient Music upheld the high standards of the Birmingham International Concert 2009/10 Season with a varied feast of Mozart’s music, an evening sponsored by Veolia Water Solutions and Treatments.

The orchestra warmed up with the overture to Don Giovanni. The quality of this period instrument band was immediately apparent under Richard Egarr, who is proving to be a forceful and energetic director of the AAM since he succeeded founder Christopher Hogwood in 2006. But the AAM are a closely-knit team and much of the credit for their continuing success is due to the influence and virtuosity of their leader, Pavlo Beznosiuk. This was in evidence during the opener; he expertly guided the first violins through the delicately scored phrases that answered the powerful statement of the second theme. The crescendos and diminuendos so explicit of the drama that unfolds in the opera proper were vibrant, and well overseen by Egarr. A fine start.

Egarr then explained that the experiences of audiences during the late 18^th century were very different to those of today, pointing out that distractions before and during a piece were commonplace. He then proceeded to demonstrate how this might have been. In keeping with the AAM’s article of faith to play in a style dating from when the music was composed, Egarr then performed the Mozart Piano Concerto No 15 on a fortepiano. How different the effect was to my Brendel recording! The solo instrument enters many of the Mozart piano concertos with a positive outburst, but not so in K503; its first notes are but a tentative request from the soloist to join the orchestra’s fun. The result on the fortepiano made it sound almost apologetic. This lack of power from the keyboard was apparent throughout the piece and I found the balance with the orchestra out of kilter at times. Conversely it was difficult not to admire Richard Egarr’ touch and the delicacy he obtained from his instrument at other piano moments of the concerto, particularly during the Andante movement.

Any misgivings the packed Birmingham audience might have had regarding Egarr’s first appearance at Symphony Hall were dispelled by the opening passages of Mozart’s Requiem that occupied the second half. The AAM choir, inspirationally founded in 2007 by Egarr himself were amazing, the stars of the night – alternating the reverence of the Introitus with the intensity of the Kyrie, the passion of the Dies Irae with the majesty of Rex tremendae, the brutality of the Confutatis maledictis with the soothing strains of the Lacrimosa, the ripping Domine, Jesu Christe with the bleak mood of the Hostias et preces. I don’t think I’ve heard a twenty-strong choir resonate better around the Symphony Hall. A strong line-up of soloists had also been called upon – Katherine Fuge (soprano) Barbara Kozelj (mezzo) James Gilchrist (tenor) and Christopher Purves (bass). The gorgeous Benedictus quartet was a succulent model of four-part singing with a delicious topping from the choir. After an ethereal Agnus Dei, Egarr’s balance between Fuge’s solo part, the choir and orchestra in the final Lux aeterna was now faultless.

Geoff Read