Opera, music, theater, and art in Los Angeles and beyond
Nothing But Flowers
January 27, 2013
The Los Angeles Master Chorale kicked off the Spring leg of their season with a beautiful reflective program this weekend pairing two large orchestral works for chorus and soloists – Peter Lieberson’s The World in Flower and Brahms’ Ein Deutsches Requiem. Both works focus on redemption in the face of death and provided an opportunity for the chorus to shine. That’s not unusual; they and their Music Director Grant Gershon are always great. But sometimes the chorus doesn’t quite get the starring role it deserves, especially when placed as the backdrop of so many other simultaneous musical forces. Brahms’ Requiem is a familiar staple. It's easy to hear it performed by any number of the worlds’ great orchestras often with the most rarified of conductors and soloists. But sometimes the choral contribution to such performances can be left wanting by comparison. Take Daniel Harding’s 2010 performance with the Dresden Staatskapelle in New York with Matthias Goerne and Christiane Karg. Beautifully played and sung, the work sounded somewhat flat and uninvolved, and the chorus while admirable was a ramshackle amalgam of various local choral groups. The work fared little better with the Los Angeles Philharmonic in 2011 under Gustavo Dudamel. Again Goerne was joined by Christine Schäfer and the LAMC, but the whole affair collapsed under Dudamel’s typically ponderous, excessive conducting penchants. The LAMC performances this weekend with the assembled orchestra under Grant Gershon couldn’t have been farther from either such previous outings. Here the chorus was given pride of place and room to shine without the intrusive overworked contributions from previous conductors. With the focus shifted, the Requiem came alive underscoring Brahms’ humanistic approach to the mass. Suddenly this was a requiem for and by the people, and that community spirit shone through for a stirring and often quite touching hour.
Of course, the fine work of the soloists Hayden Eberhart and Brian Mulligan also helped make the evening such a success. Mulligan has repeatedly given remarkably strong and earnest performances on so many stages this year that his international super star status seems all but a certainty now. He was no less impressive here, muscular and warm with a note of heartbreak deep inside, he gave another stirring vocal performance here. Mulligan was also one of the soloists for Lieberson’s The World in Flower alongside mezzo and Los Angeles favorite Kelley O’Connor. Neither vocalist is a stranger to contemporary music (O’Connor will tour with the LAMC and the LA Philharmonic this spring to take John Adams’ The Gospel According to the Other Mary around the world) and their experience paid off here. The song cycle, which features settings of poems by a variety of authors including Rilke, Hopkins, Whitman, and Neruda, was put together for Lieberson’s wife who sadly died before the work’s completion and premiere. Lieberson himself had completed a round of chemotherapy for his own cancer prior to orchestrating the work and the spiritual life-affirming elements of the piece hit very hard. O’Connor and Mulligan soared above the exquisite choral writing for a remarkable opening to the concert. Lieberson used a more constrained sound palette for The World in Flower in contrast to several other of his late works (his percussion concerto, Shing Kham will receive its world premiere by the LA Philharmonic next season) but the even-handed tone fits well amid such charged material overall. It was a beautiful start to the year from the LAMC. One that brings hopefully as much joyful artistry as they offered up this weekend.