The Spectrum Singers, beneath John Ehrlich with soprano Sarah Yanovitch Vitale, mezzo-soprano Katherine Maysek, tenor Charles Blandy and bass Mark Andrew Cleveland carried out Mozart’s Dominican Vespers Okay. 321 and his Mass in C (“Coronation”) Okay. 317 at First Congregational Church final Saturday. The 2 date from Mozart’s second interval of employment within the Archdiocese of Salzburg throughout which Mozart answered to the Archbishop Colloredo, an Enlightenment determine who simplified and shortened church companies. The musical a part of the service was to be not more than 45 minutes and needed to be “easy” which meant minimal counterpoint, few florid solos, and small teams of devices. Mozart chafed beneath these necessities however didn’t fail to provide masterpieces.
The singers, with accompanying orchestra, delivered a wealthy and diversified, but unified sound resulting from a balanced mix of voice components. The textual content got here throughout nicely and the group’s enthusiasm and attentiveness to their conductor delivered a delightful presence. Founding director Ehrlich, now in his 43rd yr with the ensemble, has molded Spectrum into considered one of Boston’s excellent choruses.
The opening Dixit Dominus of Okay 321 using full refrain and orchestra, made clear that the night can be considered one of power and pleasure. The refrain adopted a brisk tempo within the Dixit, coming to a dramatic fermata at m. 28 (“He―the Lord—will shatter the heads of many within the land”). The conclusion paid full glory to the Father through overlapping melodies within the refrain whereas the orchestra outlined chords and scales that strengthened the important thing of C and underpinned the ahead movement. Soprano Yanovitch Vitale delivered the opening solo of the Confitebor with richness and emotion. The motion, devoted to the glories of God, is a dialogue, with the soloists offering the mandatory floridness whereas the subdued reverence of the refrain strengthened the message. The third motion, Beatus Vir once more featured full of life dialog between soloists and refrain. The violins, with precise phrasing and rhythmic precision, punctuated the ahead movement through rising arpeggios on the dominant and falling sixteenth notes. Laudate pueri opens with the vocal sections in canonic imitation. The slower, extra expressive tempo allowed the refrain to showcase its lyrical aspect and offered distinction with the drama that had come earlier than. Nonetheless, the unified refrain declaimed key moments of textual content. Yanovitch Vitale sang the Laudate Dominum, a live performance aria for soprano solo with agility and ease. Peter Sykes performed the understated but charming organ accompaniment, which at instances echoed the melodic materials, and at others offered harmonic help.
The assembled forces met the opening dynamic problem, forte, then piano on one phrase, of the Magnificat, with conviction. Mezzo Katherine Maysek conveyed a wealthy heat in the one occasion through which the primary solo was assigned to the alto line. The Gloria was launched by a quartet of soloists, who projected a balanced and joyous sound. Mozart alerts the tip of the piece with repeated assertions of the tonic. Brass, timpani and organ underpin the bustling strings because the refrain and orchestra convey the Vespers to their last, affirmative “Amen”.
The Kyrie of Okay. 317 opens on a C main chord and as within the previous Magnificat, the refrain executed fast dynamic adjustments with ease. The heroism of the primary 5 measures yields to a lyrical tenor/soprano duet, sung with confidence by Yanovitch Vitale and Blandy. The refrain returns to the opening gesture and ends the piece on a Kyrie of hushed reverence. Rhythmic drive, punctuated by distinguished timpani, characterizes the Gloria. On the first unison point out of Jesus, an all-encompassing hush took over, solely to be relieved by the abandon with which the singers catapulted to the closing amens. An identical rhythmic vitality pervades the Credo, punctuated by the darkish, introspective description of the Crucifixion.
Within the Sanctus the majesty of the opening Kyrie returns. The singers’ power didn’t flag via the Hosannas which adopted. These alternated with the charming Benedictus, a quartet of soloists. The poignant soprano solo Agnus Dei reminded us of man’s indebtedness to the Lord. The closing Donna Nobis Pacem (grant us peace) is taken up in a brand new tempo as all forces hurdle to a joyful finish.
In his introductory remarks, refrain Spectrum President Daniel Epstein had warned the viewers that though this system was brief in length, it was lengthy in depth. An encore shouldn’t be anticipated, as a result of the refrain can be exhausted. The appreciative viewers allowed Mozart’s sacred music to have the final phrase.
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