Philadelphians shine with Beethoven

Monday, August 2, 1999

By Peter Haley

The first week of the Philadelphia Orchestra's annual visit to the Saratoga Performing Arts Center ended on Saturday with a gripping performance of Ludwig van Beethoven's Symphony No. 9 in D minor, Op. 125 ("Choral").

Maestro Charles Dutoit, assisted by the 125-member Mendelssohn Club Chorus of Philadelphia, and a quartet of solo voices, delivered a solid performance of Beethoven's final symphony. High temperatures and intense humidity are not ideal conditions for playing this demanding music; nor is it any bed of roses for the singers. And let's not forget the compromised comfort range of the audience, which could put a real damper on enthusiasm for the concert. Kudos to all, who did their jobs beyond expectation.

First up were Leonard Bernstein's "Chichester Psalms," composed in 1965 on a commission from England's Chichester Cathedral. Bernstein chose three familiar psalms, -- "Make a Joyful Noise Unto the Lord," "The Lord Is My Shepherd" and "Lord, My Heart Is Not Haughty" -- each interspersed with verses from three others.

"Make A Joyful Noise" vibrated with Bernstein's now-familiar syncopated rhythms and boundless energy. Counter tenor Daniel Taylor, whom local audiences recall from Glimmerglass Opera productions, and the Met's recent "Julius Caesar," held his audience in hushed amazement as he floated his eminently pleasing voice into the soprano range. Indeed, those who were caught unawares spent a good deal of time searching the stage for the solo "soprano" until they were convinced that the gorgeous sounds were coming from the guy standing next to the conductor. Bernstein's hauntingly beautiful theme for Psalm 23, "The Lord Is My Shepherd," wafted angelically over the duo harps of the orchestra, interrupted almost rudely by the choral shouts of "Why Do the Nations Rage?" Not one to waste a good tune, Bernstein closes the movement with the counter tenor restating the opening theme, in a word, restoring peace.

The final psalm, preceded by a beautifully played prelude, continues the peaceful flow of the previous movement, ending with an a cappella chorale, sung to perfection by the Mendelssohnians.

After a breather, all reassembled for Beethoven's great Choral Symphony. The Philadelphians have this stuff down -- cold. With myriad opportunities to dazzle an audience, the orchestra really stole the show with the "quiet" movement, the adagio, placed third as opposed to its usual position of second in symphonic construction.

Dutoit gave plenty of drama in the opening allegro, leading to a high-spirited romp in the glittering second movement scherzo. Lots of short, repeated, fast notes, rendered without flaw, raised the excitement level as the various sections of the orchestra chased each other around with Beethoven's happy little tune-fragments.

The extended adagio, played with almost unbearable beauty, seems ready-made for the Philly. The second violins and, in particular the violas, provided tonal richness beyond imagination in their restatement of the theme. This created lush moments to cherish, before the bristle and impending tumult of the fourth movement and its memorable "Ode To Joy."

Bass-baritone John Relyea interrupted the orchestral tapestry, thundering out Schiller's admonition to "leave these tones and strike up more pleasant, more joyful ones!" Relyea, boasting considerable operatic experience, brought authority and drama to his invitation as he led the first verse of the great "Ode," taken up by the eager quartet. Kurt Streit met the demands of Beethoven's high tessitura without sacrificing the blend of the foursome, while mezzo-soprano Stephanie Blythe provided ample sound. The mezzo often gets buried in this passage, but not Blythe, a young American singer on her way to a big career. Soprano Christine Brewer completed the solo quartet, often singing with a lot of beautiful technique, where a little more sound would be preferred.

Dutoit successfully "teased" the audience, as he held back the tempi at each snippet of the great and familiar "Ode," building the anticipation level through constant acceleration to the point of ecstasy as the full forces roared through the final chorale.