To kick off its 2015 season, the Australian Brandenburg Orchestra presents an all-Handel program with its centerpiece the famous “Cantata Ode for St Cecilia’s Day”, first performed in the middle of a freezing London winter in 1749. Handel was hugely popular in his lifetime so the cold was no deterrent to the ‘mob’, which had to be kept at bay with 18th century bouncers.
Our own weather was balmy so I was surprised to see the City Recital Hall had ample seats to spare on this opening occasion. Perhaps Handel suffers from being considered too popular, which is a shame because it is sometimes possible for mass taste and critical appraisal to happily coincide – and this is one of those times.
Based on John Dryden’s poem, “From Harmony, from Heav’nly Harmony”, the “Ode for St Cecilia” is surprisingly modern in its celebration of music as broadly spiritual rather than narrowly religious: it is to the power of music itself, rather than any godhead, that it lends respect. God lurks, naturally, but so do Greek deities, Orpheus with his lyre in particular, calming hell and nature in equal parts. That music brought the cosmos into being and its trumpets of doom shall one day “untune the sky” seems as legitimate a creation myth as any.
The two soloists are Mariana Flores from Argentina and Portuguese tenor Fernando Guimaraes, and both comported themselves with a subtlety that allows for an exquisite blending of voice and instrumentation. Flores in particular brought warmth to her performance, while at the same time maintaining a fine pianissimo in her upper register. Accompanied by a flute in the ‘Air’, there were moments when voice and instrument were almost indistinguishable. Her singing achieved a kind of carnal hermeneutics, I felt, so that she became the music rather than its mere medium.
Standout performance from baroque cellist Jamie Hey
For the charming encore with Guimaraes, “As Steals the Morn” there were moments where Flore’s cheery embodiment of rhythm left the more anemic tenor looking a bit stilted. Nevertheless, the play of soloists’ voices and the powerful Brandenberg Choir were reminders of the sheer artistry of the human voice, its delicacy and verve when left to float unencumbered by amplification and sail away.
A cello solo and duet was a standout moment, in “What passion cannot music raise and quell!” for which baroque cellist Jamie Hey deserves special mention.
My only quibble for the evening was the women’s uniform, which is quite frankly drippy for such a spunky ensemble. The soft, folded fabric in navy couldn’t compensate for the unfortunate split short sleeves, uneven hem line and bow at the back, three fashion faux pas in one frock.
I learned a new word, too: ‘sequacious’ which according to the program means “inclined to follow, lacking independence”. That describes me when it comes to the Brandenburg. I try to be picky, I really do, but delight reigns supreme. As Guimaraes’ opening lyrics affirmed, from “Look down, harmonious saint”, the Cantata that opens the program: “It charms the soul, delights the ear,/To it all passions bow./ It gives us hope, it conquers fear,/And rules we know not how.”
Book tickets for Handel, Heaven and Harmony
Australian Brandenburg Orchestra
Sydney, City Recital Hall, Angel Place, Friday March 6, 7pm
Melbourne Recital Centre, Saturday March 7 (7pm) and Sunday March 8 (5pm)
