It wasn’t actually “Haydn’s Greatest Hits,” but it was a great hit nevertheless. Bruno Weil and the Festival Orchestra were at their elegant best, and the Chorale, aided by the Youth Chorus, was flawless, once again under the master work of Andrew Megill and John Koza. The evening was a tasteful balance of beautiful music that was both serious and fun, entertaining educational enlightenment supplied by David Gordon’s mini-life history of Haydn (with snippets from Haydn’s own letters) plus a concert stage full of the regulars and the next generation of performers.
The audience was invited to learn about the real “Papa” Haydn through his music and letters via a narrative written and shared by David Gordon. Included are fine moments of insight into Haydn’s practical joking side and deeply religious side. There was plenty of Sturm und Drang and text-painting in Der Sturm; velvety strains from Soprano Kendra Colton in the Adagio from Salve Regina; and marvelous choral sound in movements from “The Seasons” and the Gloria from Missa St. Joannis de Deo. The orchestra was splendid in movements from Symphonies 88, 60, 94 (The “Surprise” Symphony). Entertaining, too, was the Symphony 45 (“The Farewell”) at the end of the first half. Luckily, Sanford Sylvan came along just in time to sing “The Farmer Hastens Joyfully” from “The Seasons.” It was great programming.
The treat of the evening was the Trio No.39 for Violin, Cello and Pianoforte in G Major (Poco adagio, cantabile) played by Elizabeth Wallfisch, Allen Whear and David Breitman, respectfully. This trio of musicians made all of the frustrations of the day fade. It was a stunning movement exquisitely played.
As I commented in an earlier review, I am most amazed at the excellent balance, not only between the Festival Orchestra and the Chorale and soloist, but also amongst the sections of the orchestra itself. The string section was spectacular in the Serenade as it made eight instruments sound as one, so special kudos to Maestro Weil.
If you have children old enough to appreciate what a Bach Festival concert has to offer, this would be a fine program for them to see and hear. It is upbeat, beautiful, always engaging and they will see young people, yes, YOUNG people involved in the arts.
SOAPBOX: It is wise for any arts organization to support, encourage and mentor young people. The Carmel Bach Festival is doing this with its program for the Young Chorus and Young Musicians. Actually, they should both be called Young Musicians and then be separated as Young Singers and Young Instrumentalists, since singers are musicians, too. Would you like to argue the point with any of the current soloists or Master Class participants? At any rate, we owe you our thanks for reaching out and being the catalyst helping to secure the future of classical music.
One last thing — bravo to the sound and lighting technicians and to the stage crew for its contribution to a seamless evening.
End
Reg Huston has appeared as concert soloist and has performed leading roles in opera and musical theater throughout the United States and Europe for over thirty years.
