02 May 2007
Delightful Organ at St Margaret’s Palm Desert
Who says an organ recital cannot be jolly good fun?
Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.
Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.
On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.
English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.
It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.
In strict architectural terms, the stupendous 2nd century Roman theatre of Aspendos near Antalya in southern Turkey is not an arena or amphitheatre at all, so there are not nearly as many ghosts of gored gladiators or dismembered Christians to disturb the contemporary feng shui as in other ancient loci of Imperial amusement.
Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.
Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.
On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.
The second day of the Richard Strauss weekend at the BBC Proms saw Richard Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014 by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine Goerke in the title role.
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings
On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!
Who says an organ recital cannot be jolly good fun?
I might have until recently, but as of January 28 and February 13, 2007 this auditor has a new and pleasurable impression of what pipe organs can be as secular entertainment, even if in a church setting. (Yes, I grew up listening to Stan Kann play the mighty Wurlitzer at the Fox Theatre in St Louis, but that was a movie palace, and in a very different repertory and time.)
A visitor to the California desert cities two hours east of Los Angeles may find the area, in terms of classical music, a cultural wasteland. That has been my impression. Thus in the present winter season two recitals on the superb Quimby organ at St. Margaret’s Church in Palm Desert (nationally known of late as the locus of Gerald Ford’s first funeral), were well appreciated as they were especially excellent in quality.
In January the talented Richard Elliott, a principal organist and musical director of the Mormon Tabernacle in Salt Lake City, held forth on a Sunday afternoon to a full house of 750 that stood and cheered his performance of Mussorgsky’s Pictures at an Exhibition. Originally written for piano, Pictures thrived in an organ arrangement by J. Guillou and K. John, the myriad colors and dynamic effects achieved by Dr Elliott and the 4,274 pipes of Quimby’s remarkable St. Margaret’s instrument provided a promenade through this dramatic musical gallery tour, which was literally incomparable. The ear was constantly surprised by the enormous variety of instrumental sounds and colors pouring from the various registrations chosen by Dr Elliott. “The Great Gate of Kiev,” resounded magnificently, and coming as it did following a section (“Baba Yaga”) played pianissimo, the audience was left in a state of astonished delight.
Quimby’s big 71-rank, electro-pneumatic slider organ is a bit daring given the size of the church’s auditorium; it is almost, but not quite, too large in sound, when full out, for the hall. Thus, the sonic journey from pianissimo to fortissimo is an exciting trek. The balance of tonal quality from lowest to highest notes is especially pleasing; and to hear the powerful low basso tones rolling through the room was thrilling. Nothing is raw or unrefined, every sound is pure music. Organ builder Michael Quimby, headquartered in Missouri, is a small but highly regarded designer-builder, who is presently engaged in the prestigious assignment of restoring the fire-damaged organ in the Cathedral of St John the Divine, in New York City. When Quimby built the Palm Desert organ, a decade ago, it was his most ambitious undertaking to date, he says. He went to great lengths to study the acoustical problems of the ‘dry’ St. Margaret auditorium, making a special trip to England and France to familiarize himself with instruments that overcame similar challenges.
I want to pause here with a disclaimer – I am not tutored in organ arts or technology and have only a layman’s notion of the skills required to perform as an organ virtuoso. But St. Margaret’s quicksilver Quimby instrument strikes me as of singular quality among church organs I’ve heard. Dedicated in 1998, after three years of manufacture, the four manual, 58 stop, 71 rank instrument is precise but warm in tonal quality, perfectly balanced in pitch and color. It is widely versatile – Bach, Buxtehude and classical pieces sound clean and clear, as they should; César Franck and Elgar are warm, mellow and full-toned, and showmen (if I may take that liberty), such as Widor and Vierne are fleet and sparkling. I am in complete sympathy with Dr. Elliott, who announced before his recital, “the only time I am unhappy at St. Margaret’s is when I have to leave this marvelous instrument.” Elliott’s other selections in his Sunday recital included a ‘Trumpet Voluntary’ of John Stanley; Bach and Handel, as well as Elliott’s own hymn arrangements. The Utah artist played with musical muscularity and poise, and he had the entire program from memory. What a treat to hear him and his unique treatment of various scores on the Quimby instrument. Dr. Elliott is featured in some sixteen CD recordings, and has a new solo recital disc coming out on the Mormon Tabernacle Choir label this year.
As if one good thing begets another, February 13 the Scotland-born music master and organist of Westminster Abbey, London, James O’Donnell, provided St. Margaret’s a quite different program that impressed not only with technical brilliance but with nuanced subtlety and elegance. O’Donnell’s many Hyperion recordings testify to his abilities, if not to the sound of the Quimby instrument. For that one can turn to a JVS Recordings CD of Frank Bridge organ music played on the St. Margaret’s Quimby by the American virtuoso, Todd Wilson of Ohio. Listen to this on a big sound system with an extended low-frequency response and plenty of amplification power, and my favorable adjectives may seem inadequate.
Mr. O’Donnell’s program included Buxtehude and Bach; a French group of Franck, Widor and Vierne; a quick dip into the English masters Stanford, Elgar and Walton, and a charming unexpected piece, “Miroir” by Ad Wammes (b, 1953) that added a touch of impressionistic whimsy. The Scottish artist played with remarkable technical mastery, his musical taste and spirit of the highest order, as would be expected from a man in his exalted position in British music.
When one considers most organ scores are not instructed with registration, thus leaving much of the instrumental colors and sounds to the choice of the performer, the magnitude of musical talent required for organ virtuoso performances is awe inspiring. An organist’s tasks are varied and many, and the artist has an unusual degree of creative input. [For audiophiles, my playback for organ and other ‘large’ material includes Thiel 3.6 speakers, a Threshold amp of 300-watts, and a DA converter by Sonic Frontiers of Canada that includes a vacuum tube stage for warmth, all connected with highly efficient top quality Kimber Kable.] After hearing organ music in Palm Desert’s church of St. Margaret, I shall admit to the sin of envy. The only cure, of course, is to hear more, or so Oscar Wilde might advise. This may happen, as next year is the organ’s tenth year, and John Wright, the church’s music master and resident organist, advises interesting plans are being made.
The CD [JAV120], “Frank Bridge and Friends,” recorded at St. Margaret’s in 2000 and still commercially available, is of unusual interest in itself, not only as a handsome demonstration of the Quimby organ. Most of the rarely-heard music is of English composer Frank Bridge (1879-1941), an important teacher of Benjamin Britten. Other selections are by Sir Edward Cuthbert Barstow, Britten, John Nicholson Ireland, Craig Sellar Lang, Sir William Turner Walton and Percy William Whitlock, all late 19th C. or 20th C. U.K. composers, working at a time when organ was a musical sovereign. As to interest and quality, each composer offers worthwhile material, though now and then the Bridge pieces can turn a tad watery and a slow-paced. I liked John Ireland’s ‘Romance’ for its shape and movement, and Walton’s ‘Popular Song’ will delight those familiar with his setting of the Sitwell poem ‘Façade,’ for which the merry tune was written. The better the audio system used in playing back this recording the finer the music will sound, though even the largest home stereo systems cannot approach the magical presence and full range of sound of a pipe organ such as St. Margaret’s in full cry.
King of instruments, indeed!
J. A. VAN SANT/Santa Fe © 2007