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By R. Glenn Curry

Helmuth Rilling, conductor
Simone Nold, soprano
Anke Vondung, mezzo-soprano
Fredrika Brillembourg, mezzo-soprano (Bach only)
Michael Shade, tenor
Michael Dean, bass-baritone
University of Toronto MacMillian Singers
Elmer Iseler Singers Toronto Symphony Orchestra

Bach’s “Magnifica”t is Mary’s song of praise to God when her cousin Elisabeth greets her as the mother of Christ. It is a jubilant and festive cantata, consice in its brief thirty minutes. All involved under Rillings’ exuberant leadership conveyed the humble yet certainly overwhelmed nature of Mary’s gratitude; ‘My spirit hath rejoiced in God my Savior. For he hath regarded the low estate of his handmaiden.’ Most notable of the soloists here was the resplendent Fredrika Brillembourg. Dressed in festive red, she conveyed the greatest sense of rapture and joy; a delight to see and hear.

Mozart’s “Mass in C minor” is a much larger work. Typical of Mozart it is far more overt, perhaps gregarious, and emotionally involving than Bach. Despite the religious nature of the subject matter, Mozart infused the score with his usual high-spirited writing. It wasn’t a commissioned piece but rather a gift to his new bride. The orchestra performed delightfully, bringing to life Mozart’s vibrant to near-sexy rhythms, with rich colour and tone. And as always, the wind section of the orchestra was enchanting.

However, for all of Rillings’ tight control and constant mining of the soloists for passion, the quartet seemed lacking. While Simone Nold acquitted herself with obvious skill and clearly possess a beautiful voice, she seemed to lack soul. Her rigid control perhaps could have loosened a bit to fit Mozart’s extroverted score. Tenor Michael Shade, the standout performer here, is in possession of a fine and expressive voice.

The combined choirs were indeed powerful, with great presence and moments of breath-taking clarity. Though like the soloists, their cohesion often seemed accidental, as if you could hear the two distinct choirs. What was most distracting about the choir and the soloists was all the standing up and sitting down. The soloists, seated to the left, would walk to the centre to sing their parts and then return to their seats. And the choir stood to sing and then sat when done. The noise created by that many people sitting and standing, combined with this coming and going of the soloists gave the impression that we were watching a dress rehearsal. It certainly breaks up the flow of the performance.

While all in all a worthy performance of the two works, as it concerns the vocal elements, it was more religious than spiritual.

See Toronto Symphony Orchestra, Helmuth Rilling, Simone Nold, Anke Vondung, Fredrika Brillembourg, Michael Shade, Michael Dean, University of Toronto MacMillian Singers Bookmark Toronto Symphony Orchestra, Helmuth Rilling, Simone Nold, Anke Vondung, Fredrika Brillembourg, Michael Shade, Michael Dean, University of Toronto MacMillian Singers Go to Roy Thomson Hall Bookmark Roy Thomson Hall

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