SEEN AND HEARD INTERNATIONAL

Prom 43,Mozart, Vaughan Williams, Osborne and Beethoven: Rebecca Evans (soprano), Pamela Helen Stephen (mezzo-soprano), Thomas Walker (tenor) Matthew Rose (bass), Sharon Bezaly (flute), Lawrence Power (viola). City of London Sinfonia; BBC Singers; Richard Hickox (conductor), Royal Albert Hall, London 17.8.2008 (CR)


This was an interesting and varied programme, with the first half ranging from Mozart to Nigel Osborne via Vaughan Williams, and Beethoven’s Mass in C forming the second half. At the outset, I was immediately impressed by the clarity of sound form the City of London Sinfonia, under the baton of Richard Hickox. The Mozart Symphony (No 34 in C major K338) was perfectly poised, with the first movement’s jaunty rhythms providing an energetic start to the concert. There was some lovely playing from the Winds, especially the principal oboe, Gareth Hulse, and some beautifully phrased melodic lines. The central slow movement, using just the strings, provided a well matched balance between the 1^st and 2^nd violin lines, supported by an excellent bass line and some wonderful viola moments.  The movement as a whole had a chamber music-like intimacy and there was a palpable silence from the capacity audience at the Royal Albert Hall as they were drawn in by the music.  The fast paced and cheerful finale provided once again a sense of boundless energy, bringing this excellent performance to a close.

If the standards of playing in the Mozart were high, the following piece surpassed it.  Vaughan Williams’ Flos Campi is a 19 minute suite for solo viola, chorus and orchestra, composed in 1925. Each of the six sections is preceded in the score by a quote from the Song of Solomon, and the movements flow together to create one continuous work. The opening, with its polytonal dialogue between oboe and the solo viola was breathtaking, Lawrence Power’s rich and resonant viola sound matched to perfection by Gareth Hulse’s oboe. The elements of the piece combine as it develops, introducing  first the strings and finally the choir. A militaristic episode gives focus to brass, piccolo and percussion, showing another dimension to Vaughan Williams’ musical language. This was a superb performance, with Lawrence Power displaying his brilliance as a soloist and the BBC Singers on top form.

For me, the main draw of this programme was Nigel Osborne’s flute concerto, performed by Sharon Bezaly, an emerging solo artist who has recorded extensively on the BIS label. Osborne’s work is gritty and biting, with its contemporary flute techniques and microtonal harmonies. The orchestra played with conviction and rhythmic drive throughout. For me, however, there were balance problems, particularly at the opening, when Bezaly’s flute was almost completely obliterated by the orchestra during the first tutti section. It is possible that this was partly due to my positioning in the hall, in the stalls on the right of the stage, but listening back on BBC iplayer was only marginally better. Bezaly is undoubtedly an excellent flute player, and in the less densely scored moments one was able to get a better sense of this. The highlight for me was the atmospheric second movement, with its evolving textures and gradually changing harmonies. This was beautifully played and the balance issues seemed to be resolved. The dancing finale, with its trills passing from the soloist into the orchestra and charming end had an energetic interaction between the performers.

The remainder of the concert was made up of Beethoven’s Mass in C, and this was the highlight of the evening. The calming opening Kyrie was beautiful, with some high calibre solos and a perfectly balanced sound, while the lavish Gloria demonstrated excellent ensemble playing from the orchestra and good contrasts between the lyrical, technical and rhythmic demands of the piece. Throughout, we were treated to a superlative sound from the BBC Singers (particularly in the beautifully phrased Sanctus, with perfect intonation in the unaccompanied passages), matched by the quality of the City of London Sinfonia’s playing.  There were some particularly notable moments from the soloists; the qui tollis quartet was wonderful, and Thomas Walker’s tenor solos were particularly beguiling. Mention also should go to principal flute, Karen Jones, for her beautifully played solos in the Benedictus, and to David Rix, the clarinettist, for his solos in the Agnus Dei. This was a deeply moving performance, with the sort of sound one would expect from a well-balanced recording. Highly enjoyable.

Carla Rees


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