Combined voices precise, solid in Mozart Requiem

Messiaen's Liturgies has no counterpart

It's a safe bet that the majority of the people who filled Southam Hall last evening came to hear the Mozart Requiem, K.626 rather than Messiaen's Trois petites Liturgies de la présence divine, which occupied the first half of the program. This exceedingly difficult work was received with applause that was perhaps more polite than enthusiastic, but the performance was good enough that some listeners must have been moved by the depth and rarefied emotion of the score.

Involving a soprano chorus, strings, percussion and an early electronic instrument called ondes Martinot, this music has no counterpart in the work of any other composer.

Although the sopranos did tire and start to sound a little scrappy before the performance was over, things went well in general. Conductor Duain Wolfe clearly understands the score and was generally able to convey that understanding through the musicians.

Special mention should be made of pianist Louise Bessette whose brilliant playing was among the finest things about the performance.

One only wishes that there had been moments of greater power and abandon, developing more of the majesty inherent in Messiaen's music.

After intermission, Pinchas Zukerman was on the podium for what turned out to be one of his finest Mozart performances. There was little sentimentalizing in his direction and an admirable sense of proportion.

One might have imagined that the combined Cantata Singers and Ottawa Choral Society, at close to 200 voices, would have been too much for Mozart. To the contrary, they sounded terrific most of the time, precise in ensemble, solid in the big fortes and sensitive in the quiet passages.

The Confutatis, made famous as the movement Mozart dictated to Salieri in Amadeus was a particularly good example of the fine choral work.

The four soloists were strong as well. Soprano Monica Whicher is a favourite with local audience, and with good reason. Her clear, soaring voice was a pleasure each time the score called for her services.

A little less familiar, perhaps, and not quite matching Whicher's presence, mezzo Susan Platts also sang with style and conviction. Her voice was a little smaller than those of her colleagues, but it was a minor problem at worst.

Tenor Michael Colvin sang with power and conviction, as did bass Jay Baylon.

Still, one comes back to the power and poise of the choral singing as the most remarkable element of performance. The orchestra played very well indeed, but that's hardly a surprise.

The program will be repeated tonight at 8 p.m.