Es ist vollbracht

That's the third performance now completed, so I am happy to have a little R & R now, and some time to get the Carmina Burana sung back into my voice.  This spring has been willed with music that sits rather low; my normal vocal warmup was adjusted slightly downwards in pitch to keep the voice centred in the bass register for the Bach and Puccini, but now it needs to get amped up a little bit, as the Orff, and the Brahms and Duruflé Requiems all sit in the higher baritone register.

Anyway both Royal Chorale Caecilia concerts were a big hit and I was really very happy to have had three chances this spring with two different conductors to sing this great music.  I was also happy to have had my last blog post quoted by John Terauds, the former Toronto Star Music critic, and now publisher of the online publication Musical Toronto, which enjoys a large distribution not only in Toronto but in the rest of Canada.

I wish you a peaceful and happy Easter period with your loved ones.

Passionate about the Passion

Friday's concert was a very big success, and without taking anything away from the fine orchestra and excellent solo singers, I must say that Bart's choir was astonishingly good.  He has been working consistently with them for over ten years and the rewards of such sustained long-term effort is obvious.  The other singers and orchestra soloists were very appreciative and encouraging, and Bart himself was very pleased, saying that I had sung an excellent first Matthew Passion, and had been worthy of my name-saint.  It felt wonderful to have succeeded at something so challenging, that I have been anticipating for years and years, and that I have been working on consistently for more than a year.

I had a number of reflective moments during the performance... the one I wish to write about now happened after Pilate asks what should be done with Jesus; the people shout that he should be crucified, and Pilate asks, "Was hat er denn Übels getan? / What evil has he done?".  There is a soprano recitative that explains that he did only good and kind things, never evil ones, and then there is a heartbreakingly beautiful, still aria with soprano, flute solo, and two Oboe da caccia, like a quiet chamber music meditation suddenly appearing in the midst of a thunderstorm.  The text is:

Aus Liebe will mein Heiland sterben,
Out of love my saviour is willing to die,
Von einer Sünde weiß er nichts.
- Of any sin he knows nothing -
Dass das ewige Verderben
So that eternal ruin
Und die Strafe des Gerichts
And the punishment of judgement
Nicht auf meiner Seele bliebe.
May not remain upon my soul.

I sat there in the midst of perhaps one hundred people on the stage - the orchestra, the choirs, the other soloists - and other hundreds in the auditorium, all of us listening and curious to learn what the flute and soprano soloists, supported by the oboes, had to say about this moment of the story of sacrifice, suffering, love and redemption.

It came to me that there are very few public activities today that are so full of faith, trust, compassion and hope as performing a piece of music like the Matthew Passion.  The conductor trusts that the orchestra and soloists have learned their parts properly prior to rehearsal, that they will be open to his suggestions, that they will be energized but not made anxious by the stress of performance.  The choirs trust that the conductor's vision is one they will follow, and that he will cue them when needed and help them "let go" appropriately, yet maintain discipline where needed.  The soprano soloist trusts the flautist to paint an emotional picture in the introduction that moves her to something authentic, perhaps newly discovered in the moment of performance, and the flautist trusts that the soprano will do the same for him.  Everyone trusts the conductor to keep the whole thing together.  Each person on that stage has their emotional antennae fully extended, and the gain is turned all the way up.  The audience is hungry for this connection; they hope to discover this secret knowledge, this wordless knowing, and share in it also.  It is this "opening up" that is so magical, and for me it is the closest thing to group telepathy that I think anyone can experience.  For me you can talk all you want about teamwork in the context of sport, but for my money it pales in comparison to what is possible on the stage.  As well you can debate points of theology all you like, but one cannot listen to such a marvellous construction as the St. Matthew Passion and remain unmoved: it is undoubtedly a miracle.

*  *  *

I was happy to have the day off to rest on Saturday.  Sunday we had a big fall of snow, which complicated our trip to church in the morning, but we made it more or less on time.  The Palm Sunday service was led by the young people of the congregation, extra musical and dramatic activities were included, and Malcolm gave the reading, which described the entry of Jesus into Jerusalem.

Perhaps because of that special participation Julia gave us the flowers from the communion table to take home, and they are very lovely today.

Or perhaps it is because the St. Andrew's team swam the most lengths of any in the Lions Club charity Swim-marathon last week, and there were three participants from our family?  In any case we were glad to receive them; tulips promise spring, a promise we need reiterated while our winter weather stubbornly continues.

 

Sunday afternoon I drove up to Antwerp to rehearse the recitatives and some of my arias in the absolutely freezing Sint-Pauluskerk, and then we had a dinner break before the general rehearsal.  I went around the corner from the church and found a great little restaurant called De Zuilen, and there I defrosted myself with some warm freshly baked bread, a cup of Lady Grey tea and Antwerpse Vissoep, a really delicious fish soup that I think I will try to make myself sometime; it was that good.

If anything the church was even colder during the generale, and there were scarves, winter coats, and gloves and hats on some of the singers.  I don't actually think I could see my breath but it was a close thing; I really was horribly chilled, but singing helps warm you up and I didn't notice the cold temperature so much when I was involved in singing.  It seems likely that Bach's choirs had the same problem with cold in the Thomaskirke in Leipzig in the 1700s, so I suppose we will manage.

Singing these arias was also a little disconcerting at first because of the tuning change; I have never really noticed a big difference between "baroque" and "modern" pitch in performance, but then after so many times singing my parts with Le Concert d'Anvers at A=415 with original instruments, I found certain things strange with the modern orchestra a semi-tone higher.  As well the winds are much louder in this orchestra, but I soon got used to it, and I think it will still be a good balance, and no one should have any trouble being heard.

 
What else to report?  I was happy on Saturday to go pick up my new waistcoat and renovated morning suit from Bert Menzel.  He did a really great job and I am very pleased with the result.  I won't be able to wear it for the Passions, as they are evening concerts but I think Easter Sunday will be a nice occasion...

Matthäus-Passion

It's finally upon us.  Yesterday I had the first Matthäus-Passion rehearsal with one conductor and orchestra in the afternoon, and in the evening the general rehearsal with another.  The general rehearsal was for tonight's performance in Sint-Niklaas with Octopus Ensembles and le Concert d'Anvers, while my afternoon one was with Chorale Caecilia, with whom I performed the Creation of Haydn last spring.

It really is the most incredible music, and this performance tonight will not only be my first performance of it but also the first time that I hear the entire piece live, so I will try to keep my composure.  The choir sang the chorale #57 Wenn ich einmal soll scheiden last night, and it was very moving.... Here is the text, sung in the moment immediately after the death of Jesus and just before the cataclysms that follow:

Wenn ich einmal soll scheiden,
When I one day must depart from here
So scheide nicht von mir,
Then do not depart from me,
Wenn ich den Tod soll leiden,
When I must suffer death
So tritt du denn herfür!
Then step forward next to me!
Wenn mir am allerbängsten
When most full of fear
Wird um das Herze sein,
I am in my heart,
So reiß mich aus den Ängsten
Then snatch me from my fears
Kraft deiner Angst und Pein!
By the strength of your agony and pain!

Here is also a bit of Collegium Vocale Gent led by Philippe Herreweghe performing this chorale: 

The day rehearsal with Chorale Caecilia was very enjoyable; the orchestra sounds excellent and I like what the conductor is doing with them very much.  Those performances are next week, the 25th and 27th, so I am looking forward to that also.... but not as much as I am looking forward to tomorrow, a day without singing!

In like a Lamb?

March thus far has been variable to say the least.  We had lovely warm weather at the beginning of the month, only to receive huge amounts of snowfall this week, which disrupted many plans in Brussels, not always unhappily.  Maggie had a snow day on Tuesday, and spent much of the day sewing and enjoying some relaxation time.  The boys' schools were both open as usual so it was nice for the two of us to have some time during daylight hours in a quiet house.


I went out in the morning and shovelled the sidewalk in front of our house, an exceptional activity; most of the people here don't even own snow shovels because of the relative rarity of snowy days in winter, and we got along without one until last year.  I happen to have a good one with an aluminum blade, and have put it to use this winter.  I was lucky in that we didn't have much directly in front of our door because of the wind had blown it into drifts, but I did shovel out my elderly neighbour's walk, and then helped out the Pakistani family that owns the restaurant next door which was pretty heavy going.  They insisted that I drink a glass of grappa (despite the fact that it was 10am) and when I had finally finished, they surprised us with a ring at the bell, and an artichoke pizza!  Nice.

My train to Antwerp was cancelled, and it was too dangerous to drive, so I had to reschedule the rehearsal I had arranged with the conductor and the viol de gamba soloist with whom I'll be performing three times over the next couple of weeks.  We have made plans to meet this coming Monday instead.  It seems a bit silly to travel to Antwerp just for one piece, but it is central to the Passion; I spent an entire coaching session with Peter this past Monday and I want it to be as good as we can make it.  This is the recit "Ja freilich will in uns das Fleisch und Blut / Komm, süßes Kreuz, so will ich sagen", and it is really quite an amazing thing to sing.  I can't find a Fischer-Dieskau clip online but here's a live clip of the excellent Birger Radde and Romina Lischka performing it when the same ensemble did the Matthäus two years ago.  For those who really want to hear more of the Matthew Passion a la mode in Belgium, here's a recent video of the whole thing, performed by the Collegium Vocale Gent, conducted by Philippe Herreweghe, who last December performed the Christmas Oratorio on Toronto's Koerner Hall.

Tuesday I was also planning to pick up some VSL glasses that I had purchased online, but that also was rescheduled, to yesterday.  Maggie was quite pleased with the colours and the design, and we tried them out last night when I got home.  Yes, they work! 

I have actually been doing quite a bit of antiquing recently... Last Saturday was a day to myself, as Malcolm and Duncan had an all-day choral rehearsal, and Maggie went to a craft fair, so I offered to take some friends to check out some Murano glass chandeliers that they were curious about.  Craig was working but his wife Deborah was free, so after we dropped our respective kids off at the church we walked down to the Sablon.  She took some pictures of some beautiful chandeliers and remarked that the prices seemed very good, and we also took a walk through the weekend antique market stalls, where I chanced upon some nice heavy silver plate cutlery that was priced very cheaply.  Frequently for the same price as a cheap set from IKEA you can get things that are much more classic in design and of a quality to last a long time, if you are prepared to look.

This evening it's going to be rabbit; I have had it marinating in Chimay Bleu, some vegetables and herbs and a little cider vinegar the fridge since Wednesday afternoon, so we are going to stew it up in honour of the visit of Austeja, the old sister of Malcolm's friend Simonas, who is passing through Brussels this week.  We last saw her a couple of years ago in Vilnius, but she's been living and studying in Paris since then, and it will be great to have her over and catch up on what has been happening with her and with her family.

I am feeling in good shape for this weekend.  I have another coaching with Peter on Saturday, and then the boys and I will be participating in a Lions Club swimathon to raise money for their various programmes geared to handicapped people.  It's been a while since I swam and I am hoping this will give me a little kick-start to get back in the habit.

Malcolm had a busy weekend; as I explained earlier he was at the choir workshop all Saturday, then went ice skating with the youth group in the evening.  Sunday morning he and Ferdie played a little Beethoven duo during the morning service, and the guest preacher has requested that they do it again the next time he preaches, in October.  I am very happy that the two of them have an opportunity to rehearse and perform together.

 

He was pretty tired out after the service was finished, so I took only Duncan with me to the second performance of the Puccini Messa di Gloria.  He really enjoyed the concert which also included Peter and the Wolf with french narration, and was good enough to operate and to safeguard my field recorder so that we got a good capture of the sound in the Enghien church.  It really was a beautiful acoustic and the concert was very well received.  I try whenever possible to record performances live... sometimes something that you think is well placed comes out sounding too forceful, and sometimes something you think is expressive just doesn't "read" in the house... I use those recordings as guides to continually tune things up, to try to communicate more strongly with the audience.

Okay, it's time to get the rabbit bubbling, tidy things up for tonight, listen to some recordings of the Bach and get some rehearsing done.  Have a good weekend!

Puccini

Last night was the first rehearsal for Puccini, at a lovely church a short distance from me.  The St. Jan Berchmans Church is part of the complex of the Jesuit College Saint-Michel, and was built in the fist decade of the 20th century.  Its three-console organ was inaugurated by the Belgian composer Charles-Marie Widor, composer of a number of organ symphonies, including the very famous and dramatic Symphony No. 5 in F minor (Op. 42, No.1).

This series of concerts includes a performance of Peter and the Wolf as well as the Puccini Messa a quattro voci (also now known as the Messa di Gloria) so I hope to bring the boys along.  We had a fine rehearsal last night and I was especially glad to meet the tenor, Serge Bosch, and to hear his lovely singing, because this piece is one of those rare instances in an oratorio or concert piece where there is a duet for baritone and tenor.  Tonight we will rehearse at the second church in Enghien, which is much older than the Berchmans one, dating from the 16th century.

The first concert on our programme is Friday evening in Brussels, followed by the second in Enghien on Sunday afternoon.

The week's temperatures actually exceeded the forecast, frequently cresting into the 20s.  We had a nice BBQ of sausages and lamb chops on Monday evening to celebrate the nice weather, and Duncan has spent most of this afternoon reading a book on the back porch in a reclining chair.  I've shut the heat off today and given the place a good airing, but will soon have to turn it back on; it would seem that we should expect a sudden precipitous drop in temperature... we have a forecast high on Saturday of 12 degrees followed by a low of -4, which will persist into next week.  I am worried about the many plants that are waking up, and how they will withstand the cold shock, but we'll have to wait and see.  Last winter was the same, and we lost a number of plants that had proved hardy the previous years.

I have been updating my schedule and have found a rather surprising fact.  At least it was surprising to me; despite my lack of a European agent, I seem to have collected a rather full schedule for 2013, with 25 performances on the books so far:
 
2 Puccini Messa di Gloria (debut - March)
3 St. Matthew Passion (debut - March)
1 Carmina Burana (BOZAR debut - May)
1 Bach Cantata 88 (debut - June)
3 Brahms Requiem (June)
1 Duruflé Requiem (debut with the Brussels Choral Society in June)
1 Bach Cantatas 207/208 (September)
5 Mozart - Don Giovanni (debut - including the BOZAR in October/November)
8 Prokofiev - The Gambler (debut - December in Amsterdam)

21 of these are actually "repeat engagements" with directors or conductors that I've worked with before, so it would seem that they like what I deliver.  Bruce has always said that the proof of a singer's commitment, preparation and generosity is found not so much in being hired, as in being asked back, so that makes me feel very happy.  It is shaping up to be a great year for me...

... and on that note I must stop blogging and start warming up!

Gorgeous sunny day

It is the first really nice day in a while, with clear blue skies and temperatures getting ready to pop into the double digits.

The neighbours have been grumbling about the "long, cold winter" that we have been experiencing, but to Canadians it has been quite a good winter.  We really have appreciated the snow that stayed on the ground for much of the time, as it helped liven up the very grey winter days that can drag one's spirits down so strongly.  Maggie rather happily informed me that she was driving every day this week, so I would imagine there will be some convertible time in her future this week!  March is usually a beautiful month here, and I anticipate that with a full week of warmth we will see flowering trees very shortly.

It has been a very busy time musically for me recently.  I spent some time last week continuing to work on the Bach St. Matthew, but also to listen and sing through the Puccini Messa di Gloria which has its first rehearsal tomorrow evening.  It's really very beautiful music but much easier to learn that these "peak" Bach recitatives and arias from the St. Matthew... Peter let me in on a secret; the tenor-baritone duet that completes the Mass was re-used by Puccini in its entirety in Manon Lescault.  Recycling at its finest!

Saturday I went over to Matthias and Karin's place to help them hang lamps in the bathrooms, living room and hallway, and to help move some very heavy things upstairs in the attic.  This is their first house purchase and the first move in at least ten years, so they still have lots of unpacking to do.  It was nice to do some electrical work; it reminded me a little bit of my Bell Canada installer days, fifteen years ago now, and I was glad to give them a hand.  In the evening I went to see the Brussels Choral Society present the Beethoven 3rd Symphony and the Mass in C in the BOZAR concert hall.  I am happy to be singing the Duruflé Requiem with this group later on in June, but also was glad to get a feel for the "house" myself.  I have two performances in the BOZAR this year: Carmina Burana in May and Don Giovanni in October, so I was listening to how the solo voices carry with great interest.  I found the whole performance really very enjoyable with lots of clear and sensitive singing from the choir and the soloists, and I enjoyed the orchestra very much, conducted by Bartholomeus-Henri Van de Velde.

Sunday I went for the second fitting of the grey double-breasted waistcoat that Bert Menzel is making for me.  He is a very talented artist and tailor, and is happy to collaborate with me on this design; at the moment we are examining button options; I have some vintage hexagonal blue mother-of-pearl ones but there are a little too big, and my round white mother-of-pearl ones are a little bright.  I am currently on a quest for some smaller blue/white or blue/grey ones.  It will likely be ready by the end of the month, and he is also making some small alterations to the tailcoat and the striped trousers.  Pictures to follow I am sure!  Here's Hugh Laurie (from Jeeves and Wooster) in a grey flannel one, with Stephen Fry.

But mine will likely end up a bit more like this one, except in dove grey instead of black:

Notice the white slip, which gives the impression of an added waistcoat underneath.  In fact this is a removable strip that is buttoned to the inside of the waistcoat, but it pays homage to the restoration-era habit of wearing multiple waistcoats of contrasting colours.

After my fitting, I met with Peter, and as the générale for La Dispute (the new opera at La Monnaie) was delayed by an hour for some technical reasons, we decided to go do some coaching, and worked our way through the Puccini together, and sang a bit of Bach for fun, before heading back to the opera.

La Dispute is a remarkable work, with great singing, magical staging (as usual) from Karl-Ernst and Ursel Herrmann and a bang-up performance from the always excellent orchestra of La Monnaie under Patrick Davin's baton. Benoit Mernier has written a very challenging score; it's something that I need to hear more than once to really get my head around, but the colours he presents are really something to hear... it was nice to see many familiar faces from the La Monnaie planning team as well.

Speaking of planning, Maggie and I are doing some around our travel activities for the next few months.  We are looking forward to the visit of my parents in about a month, and will most likely take advantage of their side trip with the children to take a little trip of our own, perhaps to Paris or maybe Champagne for a couple of nights.  As well we have got out the atlas and are thinking about our route down to Croatia in July; we have an eastern and a western route to consider.  The eastern one is slightly shorter, about 1700 kms, or 17 hours at a straight shot to Postira, but we plan to break that up into three sections, stopping perhaps in Frankfurt, Nurnberg or Munich, then in Austria, Trieste or upper Croatia... then again, we are planning to take this route back, and will spend some time with our friends the Kerchbaums in Graz, so the other option is to take the western route, which is only a few kilometers longer but passes through Switzerland en route to Milan, and then Venice and from there to Croatia.  I should think that the roads through the mountains there are not terrible to drive in summer?  Our friends Bryan and Kiana go frequently to Lugano, so as that is on this route, perhaps I will ask their advice.  It's a nice problem to have!

Today I am going to continue my work with Bach and Puccini, and try to get outside for a long walk in the sunshine.  I wish you a pleasant week!