Tafelmusik in Haydn & Mozart, May 4-7, 2017, Koerner Hall
This Haydn’s Symphony 98 was the first time I’ve seen and heard Tafalmusik’s new Music Director Elisa Citterio in action with the orchestra, and it’s intriguing to observe how the orchestra “gels” with its the new and very energetic concertmaster. Her playing is very involved and physical and she keeps a close eye on the ensemble throughout.
The symphony itself is your regular Classical beauty and precision fare–enjoyable and worth re-listening to at home, but nothing you’d go mad for. Ever since I’ve heard Insula Orchestra play Haydn’s Le Soir symphony and how they made it sound like an intimate chamber music piece, I’m a converted proponent of Haydn’s symphonies being played on period instruments. There are intricate details in the 98th too that come into sharper focus when period instruments are involved. There are a lot of the playful touches here and there that will keep you amused. The second movement is an instrumental citation of the Agnus Dei in Mozart’s Coronation Mass with violin standing in for the soprano–it was one of Haydn’s homages to the great colleague. The final movement ends with a fortepiano solo; the sudden change of the soundscape heavy on strings into the honeyed fortepiano sound was a delightful and witty twist on how to conclude a symphony.
(The fortepiano sound is catnip for me. I need the supply to increase, Toronto. Luckily Tafelmusik is bringing Kristian Bezuidenhout back next season.)
Second half of the evening was the masterpiece that is Mozart’s Mass in C Minor, unmissable whenever it’s performed. Ivars Taurins led a large and for the most part well-coordinated crew of the increased ensemble of Tafelmusicians, the Tafelmusik Chamber Choir and four soloists (two of whom, tenor Asitha Tennekoon and bass-baritone Joel Allison, stepped out of the choir). The well-rehearsed choir is essential in this mass, as the complicated part singing gets tangled and mushed otherwise, and the Choir, as usual, did not disappoint. The sopranos were just the right kind light and bright; altos, tenors and basses were excellent foil, the layering that they provided tangible and colour-confident. Soprano I soloist Julia Doyle unfortunately wasn’t in good voice last night. The top was pushed and the line insecure, control over breath and volume intermittent. Writ large in Et Incarnatus est, that Bermuda Triangle for sopranos, where any even smallest issue with the voice gets exposed and magnified. Soprano II soloist Joanne Lunn was altogether better news. Never mind the unexpected facial expressions: look elsewhere and appreciate the voice. She had the agility required for all the jumpy intervals and the required control. Her big demanding solo was Laudamus Te, and the ball wasn’t dropped at any point.
Ivars Taurins’s tempi for each of the movements were well chosen. The Mass kept going at a clip, slower moments not dragging, livelier parts lively indeed, just the sensible side of fast. Credo was a dance, as it should be; the many interweaving lines of Quoniam and Benedictus never spun out of control. Ending with the joyous frenzy of Osanna in excelsis was the right decision.