Robert King (credit: Jim Four)
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Given the Albert Hall is the acoustic equivalent of a large and lofty
church, it seems entirely appropriate to perform sacred works in the venue. Robert King and his forces utilised the space to their advantage,
yet managed still to detail each musical statement of a subtly uplifting
evening.Their programme was most appropriate, with a first half that not only
commemorated the bicentenary of Michael Haydn's death but gave them a
chance to revisit a work which caused quite a stir when recorded last year,
this combination of soloists and ensemble winning several awards. The
Requiem, an intensely personal response to the text, was used at the
funeral service of Michael's brother Franz Joseph, the famed of the two.
Its vivid word painting was highlighted by King, whether the descent into
hell in Domine Jesu or the reverent hush with which Carolyn
Sampson sang Lux Aeterna.
Such magical moments were a result of clear chemistry between King and
his four soloists, though James Gilchrist was noticeably louder than
the other three in his solo episodes. Mezzo Hilary Summers sang with
depth and authority, while bass Peter Harvey was poised and lucid.
Haydn's fugal writing was perfectly balanced throughout the choir, with the
resulting textures expertly matched by the orchestra.
With a resolute ending in the major key Haydn had moved us from darkness
to light, and there we stayed for the second half, which began with a
performance of Mozart's wonderful Paris symphony. King's attention
to phrasing in the incisive, brisk opening was a treat, as was the way
Mozart's themes carried between instruments, never falling flat, with first
and second violins maintaining impressive unison. This approach worked well
in a light-fingered slow movement and the fluttering violins with which the
Finale began, answered by a vigorous tutti as King awkwardly swayed on his
podium.
The conductor's distinctive method carried over to a superb performance of the
Coronation Mass, and it was here that Sampson came into her own.
Whereas her very opening notes in the Haydn had perhaps too much vibrato, she
exhibited stunning control for the Agnus Dei, a magical moment where
one could have heard a pin drop. The choir, immaculately rehearsed, sang an
affirmative 'Amen' in the Gloria as King thrust the music forwards,
while their urgency in the Benedictus contrasted appropriately with
the legato writing for solo quartet.
The balance between choir and orchestra was well nigh perfect - quite an
achievement in the hall - and we were still able to hear and enjoy the
instrumental detail. A fine achievement all round.
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