Portland Symphony Orchestra
Nov. 1, 2016
by Christopher Hyde
Tuesday night’s concert of the Portland Symphony Orchestra, under Robert Moody, was a study in contrasts.—two works of supreme genius. one a breathtaking accomplishment in modern orchestration and the other an example of how much can be accomplished with minimal resources.
The Bach Concerto in D Minor for Two Violins and String Orchestra (BWV 1043), with soloists Amy Sims and Sasha Callahan, must have been one of his favorite works, since he transcribed it for two harpsichords as well. It could be described as a vehicle for showing off the virtuosity of the composer and his sons if the soloists did not have so much fun playing it.
Sims and Callahan exchanged lines, phrases and ideas, and then combined them with pure delight, accompanied by just the right amount of basso continuo and with enough difference in sound quality to maintain their individuality. The result was heaven on earth, and all too short.
Sims is assistant concertmaster of the PSO, and Callahan a member of the violin section. Both have extensive experience in solo and ensemble playing with major orchestras and chamber music groups throughout the U.S.
Bartok’s early opera, “Duke Bluebeard’s Castle,” (Opus 11), while it ends badly for the new wife, Judith, sung by soprano Michelle DeYoung, is not a tragedy. Bluebeard has not murdered his three former wives, as she suspects, but merely sequestered them in his mental library—the seventh door— from which, as a poet, he can recollect them in tranquility.
Bluebeard, sung by bass-baritone Alan Held, loses his hopes for a soul-mate, but seems quite aware of how the story would end. Judith is the gentle darkness, following wives representing morning, noon and twilight. Bluebeard praises all of them in his dramatic closing lines.
Both protagonists were perfect for their parts: Judith, at first demanding and finally resigned, and Bluebeard exuding power and hope without hope. The opera requires acting as well as voice to carry the action forward, and the duo had ample amounts of both, plus a feeling for the philosophical framework of the libretto.
Had the drama been even more desolate, the opera still could not be termed a tragedy, since the orchestra is triumphant throughout, with some of the most brilliant writing ever committed to a score, and that includes Rimsky-Korsakov and Stravinsky. The music that accompanies the triumphant opening of the door upon Bluebeard’s domains is sui generis, a paean to Bartok’s love of country even as its clouds rain blood.
The complex orchestration that produces the magnificent effects of the opera has best been described by composer Ned Rorem (on the music of the “Lake of Tears” door): “Yes, I see on the staves that one flute and one clarinet repeatedly rise and fall at great speed in close harmony backed by three other flutes flutter-tonguing, while one harp glissandos and another arpeggiates in close harmony with a celesta backed by muted strings divided into a thick A-minor triad—-all of this pianississimo. But could I have guessed that the simultaneous hollow soughing stems from the sustained intoning of two low horns a fifth apart, doubled by a kettledrum chord and a large gong? Fifty separate human players produce his pale whisper…”
Try to hear that on a recording.
All in all a tremendous performance and a daring one, totally effective, even without staging. Its 55 minutes, like those of the opening Bach concerto, passed by all too rapidly.
Christopher Hyde is a writer and musician who lives in Pownal, He can be reached at firstname.lastname@example.org.