Britten Sinfonia, Thomas Ades (conductor),
Barbican Hall, 21st and 26th May 2019
- Lawrence Power (viola)
- Eamonn Dougan (director)
- Jennifer France (soprano)
- Christianne Stotjin (alto)
- Ed Lyon (tenor)
- Matthew Rose (bass)
- Britten Sinfonia Voices
- Choir of Royal Holloway
- Beethoven – Symphony No 7 in A majpor, Op 92
- Gerald Barry – Viola Concerto
- Beethoven – Symphony No 8 in F major, Op 93
- Gerald Barry – The Eternal Recurrence
- Beethoven – Symphony No 9 in D minor, Op 125
I have banged on before about just how revelatory Thomas Ades’ Beethoven cycle with the Britten Sinfonia has been. Well it seems that, for the final couple of concerts, the rest of the world, (well OK a few Beethoven nuts in London, Norwich and Saffron Walden) has caught up. A near full house for the Choral and a much better turnout for 7 and 8 than in previous installments.
The combination of, largely, modern instruments by an orchestra of solo and chamber specialists, (and now my favourite British ensemble), who have completely bought into the lessons of HIP under the baton of, again for my money, Britain’s greatest living composer, have produced Beethoven symphonies that surely reproduce the thrill of their first performance. Appropriate forces, minimal vibrato, tempos that believe Beethoven, textures exposed and perfectly combined. I have bloody loved the first four concerts and was really looking forward to the final pairing.
I wasn’t disappointed. The best Ninth I have ever heard. Ever. Soloists perfectly balanced and all as clear as a bell over the sympathetic accompaniment. And the choirs were immense. You don’t need a cast of thousands. How on earth Mr Ades and Eamonn Dougan managed to make the voices sound this perfect in this acoustic was a miracle. And everything Mr Ades drew out of the previous three movements before the finale was perfect.
Best Eighth I have ever heard live too though here the competition is, I admit, somewhat slighter. I will be honest and just say I never knew it was so good. It is short, it is jolly, with no slow movement, but it is full of intriguing, if brief, ideas. I finally got it. The Seventh wasn’t quite up to the same standard with the opening Vivace with all those abrupt early key changes not quite dropping into place and with the stop/start of the Allegretto funeral march maybe too pronounced. Minor quibbles. Still amazing.
The Barry Viola Concerto takes the flexing and stretching of a musical exercise with a simple melody and subjects it to all manner of variations. It ended with Lawrence Power whistling. It is, like all of Barry’s music in the series, immediately arresting, just a little bit unsettling, rhythmically muscular and very funny. Terrific.
The Eternal Recurrence which proceeded the Choral is equally unexpected. Extracts from Nietzche’s Also sprach Zarathustra are delivered in a string of high notes by the soprano, here the fearless Jennifer France, in an a parlando, actorly style which is designed to mimic speech and not to sound “sing-y”. It’s a bit nuts and undercuts the text in a slightly sarcastic way, a bit like, some would say,Beethoven does with Schiller in the Ode to Joy. It reminded me of Barry’s The Conquest of Ireland which was paired with the Pastoral earlier on in this cycle.
I gather Gerard Barry uses a similar technique in his opera The Bitter Tears of Petra von Kant, (based on the Fassbinder film). That is now firmly near the top of my opera “to see” list but for the moment I am very pleased to see that both The Intelligence Park and Alice’s Adventures Underground are coming up at the Royal Opera House. Thanks to Thomas Ades I think I can safely say I am now a fan of Gerard Barry. And the old fella has style and is generous to the performers of his music as we see when he takes his bow at each of these performances.
I won’t go rabbiting on about the musical structure or context of the Beethoven symphonies. You will know them. And if you don’t then frankly you are only living half a life. Beethoven wrote the greatest music ever written. If you don’t believe me then why not start next year when a recording of this cycle will be released and when there will be wall to wall live Beethoven performances to celebrate 250 years since his birth. Here’s a list of the best of them in London. They’ll be more.
- 6th January, 6th February, 27th February, 19th March, 2nd April – Kings Place – Brodsky Quartet – Late Beethoven String Quartets
- 19th January – Barbican Hall – LSO, Sir Simon Rattle – Berg Violin Concerto, Beethoven Christ on the Mount of Olives.
- 1st and 2nd February – Barbican – Beethoven weekender – All of the Beethoven symphonies from various UK orchestras and much much more – all for £45
- 6th February – Barbican Hall – Evgeny Kissin – Piano Sonatas 8, 17 and 21
- 12th February – Barbican Hall – LSO. Sir Simon Rattle – Symphony No 9
- 20th February, 4th November – Kings Place – Rachel Podger, Christopher Glynn – Beethoven Violin Sonatas
- 1st to 17th March – Royal Opera House – Beethoven Fidelio
- 15th March – Royal Festival Hall, PO, Esa-Pekka Salonen – 1808 Reconstructed – Beethoven Symphonies 5 and 6, Piano Concerto No 4, Extracts from Mass in C, Choral Fantasy and more
- 4th April – LPO, Vladimir Jurowski – The Undiscovered Beethoven – inc. The Cantata for the Death of Emperor Joseph II
- 8th April – Barbican Hall – Anne-Sophie Mutter, Lambert Orkis – Beethoven Violin Sonatas 5, 7 and 9
- 11th to 16th May – Barbican Hall – Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner – the entire Symphony cycle.
- 22nd November – Kings Place – Peter Wispelwey, Alasdair Beaton – Beethoven complete Cello Sonatas