THE VIRGINIAN-PILOT Copyright (c) 1996, Landmark Communications, Inc. DATE: Saturday, April 6, 1996 TAG: 9604060285 SECTION: LOCAL PAGE: B5 EDITION: FINAL TYPE: Music Review SOURCE: BY LEE TEPLY, SPECIAL TO THE VIRGINIAN-PILOT LENGTH: Medium: 66 lines
The Virginia Symphony and Chorus performed Haydn's ``The Creation'' Friday evening at Chrysler Hall.
It was, in fact, the 198th anniversary of the day on which Haydn completed his masterpiece and, thanks to guest conductor Christopher Wilkins' well-paced interpretation, it sounded as fresh as a new musical creation.
Wilkins chose tempos that, in the oratorio's first two parts, moved the story forward with exciting energy.
In the third part, in which Adam and Eve consider the completed new world, slower tempos reflected their comfort and pleasure in their surroundings.
Although the well-chosen tempos were steadily kept for most of the evening, moments of expressive rubato gently emphasized important phrases of the text.
The three soloists, portraying three archangels, were all strong singers whose voices fit the music. As a trio, they were well-balanced, keeping their individual lines audible while not overpowering each other.
As Adam and Eve, bass Mark S. Doss and soprano Andrea Matthews blended well. Individually, they displayed their own strengths. Doss had a warm tone that easily reached the higher notes. His low notes were soft, but still project due to fine intonation and focused tone. Although in his solos he rarely let his voice drop below a forte, it did not become overbearing. Superb diction brought his dramatic words to life.
Matthews' greatest assets were her flexibility and charming tone. She made every note clear in her quick scales and ornaments, adding sparkle to her youthful character. She was lacking only in her diction, and that only in comparison with her partner's.
Tenor Carl Halvorson had a bright sound that allowed his voice to carry easily. While he was a bit more overtly dramatic than the others, his style of performing fit his role. Like Doss, his fine diction enhanced the expression of the words.
The sound of the Virginia Symphony Chorus, solidly prepared by Donald McCullough, was good. But, in comparison to their performance in Handel's ``Messiah'' last December at the Harrison Opera House, the large group sounded distant. In particular, the women's voices did not carry in Chrysler Hall's unhelpful acoustics. The expected loud climaxes, therefore, lost much of their power.
On several occasions, Wilkins lowered the overall dynamic level for the chorus's contrapuntal sections. This worked very well, making a better balance between the sections and making the intertwining lines quite clear. It was only when a forceful, full sound was required that the chorus was defeated by the problems of the room.
Playing a large part in the drama was the well-prepared orchestra. String playing was, for the most part, carefully shaped and vibrato was kept at a comfortable level. The many woodwind solos added colorful touches. The only problem, again one worsened by the room's acoustics, was that of balance between strings and winds. ILLUSTRATION: Graphic
CONCERT REVIEW
What: Haydn's ``The Creation.''
Who: The Virginia Symphony.
Where: Chrysler Hall.
When: Friday evening.
by CNB