Portland Symphony Orchestra
“Magic of Christmas”
Dec. 9, 2016
by Christopher Hyde
Perhaps it’s the world situation, but the Portland Symphony Orchestra’s “Magic of Christmas” concert, on Friday’s opening night at Merrill Auditorium, seemed more movingly traditional than usual, emphasizing the orchestra and chorus, with a remarkable soprano, Elizabeth Marshall.
It was the first time I had seen the new assistant conductor, Andrew Crust, who did an admirable job as master of the Magic of Christmas Chorus, and in alternating as orchestral conductor with music director Robert Moody.
Tania Holt and Alexander Fedorchev, of Cirque de la Symphony, held the audience spellbound with their athletic feats on silk fabric 30 feet above the stage. Their duos were romantic enough to provoke a comment from Moody to the effect that the audience would either rush out to take gymnastic lessons or buy a Harlequin Romance.
As usual, the arrangements of Christmas favorites were a mixed bag, ranging from pedestrian—Anderson’s Christmas Festival Overture— to superb —the Rutter/Adam “O Holy Night,”—marred only by an unnecessary modulation in the second verse.
I would go to this concert again (December 10, 16, and 17 at 2:00 p.m. and 7:30 p.m., Dec. 11 and 18 at 1:00 p.m. and 5:00 p.m.) just to hear Marshall’s sweet but powerful voice hitting the high notes of “O Holy Night” without effort.
She also appeared in another French traditional song, “Quelle est cette odeur agréable?” with the Magic of Christmas Chorus, and in the Rouse arrangement of “I Heard the Bells on Christmas Day.” I prefer the more common tune, whether original or not, but will accept the alternative if it leads to another soprano solo over massed chorus and orchestra.
An unexpected combination of voice and orchestra was especially effective, pairing a section from Ravel’s “”Ma merè l’Oye,” “The Enchanted Garden,” with a contemporary Life of Christ read dramatically by Mathew Faberge.
Crust’s work with the chorus was outstanding, although the large, traditional group of 108, still needs a few more good bass voices. It was particularly good in an up-tempo “Hallelujah” chorus, for which the American audience stood like good subjects of King George.
The desire of that audience for some old-fashioned Christmas cheer was apparent in the concluding Christmas Carol sing-along, which was enthusiastic, with some audible evidence of part singing.
Judging from the reaction of the children seated near me, this year’s production holds attention very well, even without Santa Claus.
Christopher Hyde is a writer and musician who lives in Pownal. He can be reached at email@example.com.