Express Baroque

Christmas Oratorio from the Russian National Orchestra

The local public has already become accustomed to the fact that conductor Vladimir Yurovsky, in the rank of chief guest conductor of the Pletnevsky RNO, is always extraordinary in his repertoire, knowledgeable in unplayed music and in the music of the 20th century. But he had not yet entered the territory of the Baroque, where, according to the current rules of good manners, at least a modicum of authentic thinking and relevant knowledge must be present.

To help himself and the RNO, who had also never worked in baroque aesthetics, Yurovsky summoned from Great Britain the violinist Margaret Foltless, a musician with an excellent reputation, who now serves as accompanist of the famous English Orchestra of the Age of Enlightenment. Great hopes were pinned on her for the rapid retraining of Moscow musicians from romantics to baroque musicians.

Bach's Christmas Oratorio (three of six cantatas written for the six days of Christmas holiday services) became the first authentic experience of one of the best Russian orchestras. And many were surprised that the first step did not look timid and uncertain at all, but turned out to be very cheerful.

The stylistic work, done with the help of modern instruments, did not look completely free upon careful listening, but the overall composure of the score (somehow very aristocratic and smart), the gentle sound quality, attentive intonation and light colors redeemed the preliminary nature of the stylistic attempt to such an extent that just apprenticeship was not heard. And if, for example, the main authenticator in our area, Maestro Currentzis, thickly flavors the neophyte ardor of his musicians with great impudence, then Yurovsky and his charges easily managed without booming special effects. The sound was always transparent and efficient.

A significant part of the success of the entire enterprise fell on the share of imported solo vocalists. Mark Padmore, who was supposed to be the main star, was beautifully replaced by Mark Wilde, thanks to whom the Evangelist’s clear and charming recitatives settled into the oratorio. The tender, angelic soprano of the Danish Ditta Andersen soared above the hall. Bass-baritone Stefan Loges was precise, relaxed and effective. Only countertenor Christopher Ainslie, perhaps somewhat disappointed with his poverty of nuances and unpretentious phrasing, but still received a standing ovation thanks to his extraordinary voice.

Meanwhile, the solo works of not visiting, but the most local orchestra members did no less for the overall whole than the works of foreigners. Some of the soloists, by the way, have experience in authentic performance (like, for example, the wonderful oboist Vitaly Nazarov). And the trumpet voice of Vladislav Lavrik will easily do credit to the most sophisticated international project. In the basso continuo part, one might rather suggest Miroslav Maksimyuk, who has enormous baroque experience and excellent command of the viola da gamba. But the cello accompanist, subtle musician and experienced ensemble player Alexander Gotgelf tried his best.

The solo of the star Margaret Foltless sounded very professional, but are string solos in old music so reverent, tender and free like a musician (remember the recent solo of Alexander Rudin in the semi-authentic Haydn of his orchestra Musica Viva)? But thanks to her efforts, and the efforts of all the soloists, a very attentive conductor and orchestra members (they are not at all like the usual ones at the RNO: those who were not involved in the Christmas oratorio were almost in full force sitting in the hall), the project turned out to be very successful, stylistically balanced and emotionally subtle. Even without discounting the rarity of such events in the local area, for which this breakthrough is quite grandiose.

Yulia BEDEROVA