Tag Archives: Purcell

St. Mary Schola Offers a Believable Orpheus

St. Mary Schola
Cathedral Church of St. Luke
June 13, 2017
by Christopher Hyde

Quick, name an opera with a happy ending. Against the parade of those one knows will end badly, I can think immediately only of “Der Freischutz” and Gluck’s “Orpheo ed Euridice.” The former ends with the hero undergoing a year of probation, and the latter with a dance in the temple of love, after a deus ex machina, Amore, reverses the tragedy.

The excerpts from “Orpheo,” performed Tuesday night by St. Mary Schola at St. Luke’s, fulfilled Mark Twain’s dream of an opera composed entirely of the parts you have to wait too long for: Orpheus’ journey to Hell, his charming of the vengeful spirits, his rescue and loss of Eurydice, and the reuniting of the lovers by Amore, plus nymphs and shepherds at the end.

(Someday, when I figure out the mechanics of it, I’m going to post the dawn serenade of our Airedale and his Golden Doodle friend, which makes Gluck’s Cerberus music seem tame.)

All the sung parts, the chorus and the orchestra of period instruments, plus guest artist Virginia Flanagan on harp, were uniformly excellent, but the surprise of the evening was the voice of counter-tenor Christopher Garrepy, which suddenly made understandable the use of that range by Purcell and his contemporaries for heroic roles.

In Gluck’s scoring, the counter-tenor voice, as clear and resonant as a classic mezzo-soprano, but with a feeling of reserved power, is ravishing, taming the Furies like Daniel Webster’s oratory to the damned in Hell. His aria, “Che farò senza Euridice,” was worth the price of admission.

Garrepy was well supported by soprano Erin Chenard, a believably jealous Eurydice, and soprano Molly Harmon as a no-nonsense, take-no-prisoners Amore. The final dance-like stanzas by soloists and chorus in the Temple of Love were as delightful as Gluck meant them to be.

The first half of the program, though equally well presented, was not as satisfying to modern ears, although the scenes of dancing around the Maypole, and some risqué verses, were often charming. I find the part singing of Morley, Dowland and their contemporaries on the continent a bit puzzling. The polyphony is intricate but it has no nodes—points were the vocal lines converge into harmonic chords. The melodies are not the sort one goes home whistling.

That the disconnect is the fault of the modern ear was borne out by the increasing sense of familiarity with time, in works by Purcell and Monteverdi. The latter contends with Gluck as the inventor of modern opera, and his dance music in “Il Ballo” is equally good.

The final concert of the St. Mary Schola Spring Series, “A Musical Banquet,” will be 7:30 p.m., June 16, at the Cathedral of the Immaculate Conception in Portland, It should not be missed.

Christopher Hyde is a writer and musician who lives in Pownal, He can be reached at classbeat@netscape.net.

Oratorio Chorale’s “Prodigies” Does Not Disappoint

Oratorio Chorale
Woodfords Congregational Church
Nov. 21, 2015
by Christopher Hyde

The Oratorio Chorale’s “Prodigies” concert, Saturday night at Woodfords Congregational Church, examined many aspects of that vexed question, while presenting each in the best possible light. Director Emily Isaacson has mastered the art of combining chorus and orchestra, and the Maine Chamber Ensemble sounded the best it has in years.

The program opened with a work by a child prodigy, Henry Purcell, (1659-1695), written, however, when his genius had fully matured. His “Oh Sing Unto the Lord,” (1688) often sounded like Handel, but more complex (and a little better written). The vocal part is extremely difficult, with the chorus treated as an orchestra, offering varied instrumental combinations. It was written in a day when British households entertained themselves by singing seven-part madrigals.

The orchestral “symphony” itself is also brilliant, both at setting off the choral and recitative sections, and solo, with fugal writing that seems to come as easily to Purcell as to Bach.

It was followed by a premiere of “The Window,” a setting of a poem by Conrad Aiken, written by Christopher Stacknys (b. 1997) of Falmouth, now a sophomore at the Juilliard School. The composition was quite professional in its cycling from harmony to dissonance and back.

His musicality, however, was called into question by a performance of the first movement of the Chopin Concerto No. 1 in E minor. After a lovely opening by the string orchestra, the piano came in like a bull in a china shop, Stacknys apparently overcompensating for the acoustics of an unknown venue.

The performance was brilliant, too fast, and technically flawless. The music got lost in a cloud of notes. A concerto is always a contest between the soloist and the conductor; in this case, Isaacson lost the battle for control of tempo. The large audience loved it.

The two anthems by Mendelssohn (1809-1847), which followed intermission, “Jesu meine Freude” (1828) and “Christie, du Lamm Gottes” (1827) were delightful, lively and perfectly balanced. Any resemblance to the work of J.S. Bach, which the 18-year-old composer had been studying intensely, was purely intentional.

Isaacson saved he most astounding feat for last, a “Te Deum” (1769) written by Mozart when he was 13. He could orchestrate, write fugues, and invent choral harmonies which neither Bach nor Purcell would have disowned. He is one of the great composers whom we can honestly regret losing at an early age.

The concert will be repeated today (Sunday, Nov. 22) at the Seventh-day Adventist Church in Brunswick, at 3:00 and 6:00 p.m.