A Russian Spectacular

My first thought on this sunny Sunday afternoon was that the unseasonal cold Melbourne had been suffering should have lasted one more day, to give the audience the illusion that it had been transported to the chilly vastness of Russia. However, it soon became apparent that the music was enough to transport us – and to a far more complex Russia than we might have thought. Conductor Andrew Wailes had devised a truly spectacular program and had massive support in bringing it off. There were more than 60 players in the combined Royal Melbourne Philharmonic Orchestra and Melbourne Youth Orchestra, and at least double that number in the Royal Melbourne Philharmonic with Melbourne University Choral Society. There is nothing quite like the sound of a massed choir, particularly when the music is as worthwhile as it was in this concert. First, however, came two contrasting orchestral items: Shostakovich’s Festive Overture and Prelude to Khovantschina (‘Dawn over the Moscow River’) by Mussorgsky. The strong brass (a consistent feature throughout the performance) led an impressive opening to the Shostakovich, with Wailes directing a sound that was both spirited and satisfyingly ‘big’ – no mean feat. The Mussorgsky, a gentle contrast, was well articulated with strings and winds to the fore, with some fine individual playing. (Unfortunately, the view of the orchestra from the stalls was limited so I can’t give full credit where it is due). It was easy to picture the sunrise, to appreciate the strings’ counterpoint to the winds’ melody and to be captivated by the ending of the work. Wailes conducted economically but effectively, with an obvious confidence in his well-rehearsed orchestra. This was a style that he maintained, even as the singers stood up for their first work: the Polotsvian Dances from Borodin’s Prince Igor. My guest and I (having sung in the work in the Melbourne University Choral Society some years back) recalled that it offered many opportunities for excitement, shouting and ragged entries – all of which were deftly headed off by Wailes in this completely enjoyable performance. To begin, the winds were used effectively to establish the ‘exoticness’ of the setting, with a good contingent of sopranos singing the well-known melody before the altos joined in the first of the work’s many rich harmonies. The men’s voices had to sing their praises of the Khan against quite loud percussion after the orchestra had set the scene with ‘Wild Dance of the Men’. The crescendo/dimuendo contrasts were well realised, as were the changes in tempo throughout the work. Every ‘dance’ was exciting but Wailes managed to keep something in reserve for the final ‘General Dance’, leading to the truly spectacular finish that the concert’s title had promised. More was to come, of course, but the interval was well timed at this point! The highlight of the program was Prokofiev’s great cantata, Alexander Nevsky. After hearing this wonderful performance I have to wonder why it is not heard more often. However, its massive concept and complexity could only be tackled by a few choirs in this country – and they would need the support of a great orchestra. On this occasion both factors were present plus, in Wailes, a conductor who could hold it all together. The work begins with the bleak ‘Russia under the Mongolian Yoke’, with the full orchestra contributing to the harsh unison sound. Relief comes with the ‘Song about Alexander Nevsky’, albeit with its bloodthirsty images. The choir impressed with the rounded sound needed for Russian music, and singing that was harmonious and full. ‘The Crusaders in Pskov’ (sung in Latin) had a deliberately churchy sound, the sense of plodding feet and a clashing instrumental interlude before a reprise of the singing. The men’s voices were very good right up to the grim-sounding last line. Next came a welcome contrast with ‘Arise Ye Russian People’, a hymn to the motherland delivered with strong, warm vocals. ‘The Battle on the Ice’ had echoes of ‘The Crusaders in Pskov’ but was mainly notable for its instrumental sound, first chilling, then evoking harsh scenes of battle. Liane Keegan then quietly entered the stage as soloist in ‘The Field of the Dead’, singing the beautiful piece with power, a lovely warm texture and an entirely believable accent. Finally there was the triumphant ‘Alexander’s Entry into Pskov’ which not only rounded off a great work, but gave all performers a final opportunity to show what they were made of. I was very moved by this work, and impressed by the whole concert. I could not imagine a better performance – even in Russia! Rating: 5 stars out of 5 A Russian Spectacular Royal Melbourne Philharmonic Choir Melbourne University Choral Society Melbourne Youth Orchestra and Royal Melbourne Philharmonic Orchestra Conductor: Andrew Wailes Melbourne Town Hall 14 October