Masterful version of No 9
Ode to Joy Martin Riseley (violin), Amanda Atlas (soprano), Sally-Anne Russell (mezzo-soprano), Oliver Sewell (tenor), James Clayton (baritone), with the Christchurch City Choir, Jubilate Singers, Consortia, Burnside High School Senior Chorale and the Christchurch Symphony Orchestra, conductor Benjamin Northey. Air Force Museum of New Zealand, Wigram, October 14.
Bringing together this number of performers was the ideal way to celebrate the sentiments behind Beethoven’s Symphony No. 9
(‘‘Choral’’), which reaches out to bring mankind together via Schiller’s epic poem Ode to Joy.
Adding to this, one of the greatest concertos he wrote (Op. 61
in D Major) – arguably, one of the finest in the genre – made this a feast of Beethoven.
Benjamin Northey was at the top of his game, acting as the perfect conduit between soloist and orchestra in the concerto and exercising firm control in the symphony with direction that was unequivocal and exact. Northey needed all these skills and more for these demanding works, especially the symphony with its swift tempo and mood swings.
Stepping out of his usual role as orchestra leader, Martin Riseley did a great job of the concerto, as did his team-mates. I took a while to adjust to his reserved approach, but this soon moved from the intimate to the more overt. Always intense, the elasticity in his phrasing and depth of expression were admirable.
The largo contained subtle cameos from woodwind, horns and timpani and the final solo line, sailing above pizzicato strings, was exquisite. The cadenza in the rondo was particularly exciting, as Riseley pushed the envelope, gaining as much velocity as he could.
The highlight of the symphony was, predictably, the finale, but there was plenty to enjoy prior to that, with the irascible first movement driven by terse timpani and soothed by calm woodwind. Despite injections of vigour, the scherzo felt a little flat at times, but the adagio was lovely, with seamless exchanges between woodwind and strings and some deft touches from the horn, dealing to notoriously tricky arpeggios.
The four vocal soloists and the choirs really excelled, a good balance being achieved with the orchestra. I particularly liked James Clayton’s confident proclamation at the start and Oliver Sewell’s delivery over the quiet march in percussion and wind. The cellos and double basses blended perfectly with the male chorus in their recitative passage, but one of the most magical parts was these same players announcing the theme sotto voce, barely audible and exhibiting superb restraint.