It being the 18th iteration of The RMP Aria, you could say that this important contribution to the support and encouragement of young singers has come of age – although it is the audience doing the voting in this case. An offspring of Melbourne’s most venerable musical institution, the 150-year-old Royal Melbourne Philharmonic, this brainchild of RMP Artistic Director and Conductor, Andrew Wailes, continues to be one of the major events of the year for lovers of classical singing.
This event has a special place amongst the many competitions held around Australia every year in that it is the only major competition devoted only to the fine art of oratorio. As Wailes pointed out before announcing the prizes, opportunities for singers are limited, and oratorio performances provide an important way to “keep singers fed and housed”. On a Sunday boasting an unusually high number classical music concerts, his words were confirmed by the fact that at least two Melbourne choral societies were performing oratorios: Essendon Choral Society with Mozart’s Vespers and Requiem, and Heidelberg Choral Society and Orchestra with Brahms’ Requiem. Both were employing professional local singers – and there will be plenty more to come soon, including from the RMP.
One of the features of the RMP Aria event is that it is not only a competition. The inclusion of a substantial choral work – here performed by the RMP Choir alongside the Melbourne University Choral Society and Box Hill Chorale, the RMP Chamber Orchestra and high calibre professional soloists – contextualised the competition element brilliantly. Mozart’s Coronation Mass (1779) ended on such an uplifting and definite note that it came as something of a jolt to realise that it was not the end of an evening of joyful music making; we still had the adjudication to come. That is saying a lot given the usual thrill of anticipating and hearing the results of the competition. Would my favourite take out the big prize? Would the adjudicators and audience agree with me and with each other? Having the RMP Festival Choir seated behind the finalists as they sang accentuated the feeling of joint performance.
Clearly, this performance of Mozart’s work was another winner. It was also the only music by Mozart for the evening apart from the Recitative and Aria “Tu Virginum corona” from Exsultate Jubilate, sung by the winner of both First Prize and the Audience Prize, Lana Kains.
Scored for soprano, alto, tenor, bass choir and soloists, the opening Kyrie placed the Mass on a firm, resonant footing. The balance between parts appeared more equal than usual, with the sopranos still projecting that shining tone that is one of the pleasures of the RMP Choir. Another striking quality of this body of singers is how well they pay attention to their conductor. When to look at the score is something of an art – and the young finalists did not always seem to realise that reference to the score needs to be thought about carefully. Some conductors have their choristers mark in the places where they are permitted to look at the score; others insist on the music being memorised. In this performance, whatever instructions had been given to the RMP Festival Choir worked admirably. A pleasingly full sound with attention to dynamic detail were particularly effective in sections of the Credo.
The Chamber Orchestra, comprising two oboes, bassoon, two trumpets, timpani, organ and piano provided plenty of colour and excitement – nothing like heraldic trumpets and timpani to provide a stirring finale to a section, such as the Credo “Amen”. The soloists: Jesse Linke (soprano), Sally-Anne Russell (mezzo-soprano), Timothy Reynolds (tenor) and Nicholas Dinopoulos (bass) each made an impressive contribution. The featured soprano part was sung with gentle sweetness of tone by Linke, the Agnus Dei being nicely resonant and unforced.
Between the Gloria and the Credo, Stefan Cassomenos played Mozart’s Church Sonata in C Major, K. 329/317a, in line with its place in a normal church service of the time. Although relatively short, this interlude was surprisingly appealing and appropriate. Cassomenos played with the flair and sensitivity that he had shown when accompanying all the finalists. His expert treatment of piano reductions and his sympathy with the singers – almost singing with them – continues to amaze.
Of the six finalists this year, four were sopranos: Eliza Bennetts O’Connor, Amanda Hargreaves (Third Prize winner), Lucy Schneider and Lana Kains. The other two (thankfully) were baritone Timothy Nunn, who was presented with the Conductor’s Encouragement Award, and tenor Jack Jordan, who was awarded Second Prize. Chosen repertoire included recitatives and arias from works by Handel (four singers opted for something from from Messiah), Haydn, Bach (only one item this year) and Mendelssohn. It was gratifying to hear some less familiar music too. Bennetts O’Connor gave an expressive account of “The Blessed Virgin’s Expostulation” by Purcell, realised by Benjamin Britten, and Jack Jordan was very well-suited to the marvellous Dies Natalis by Gerald Finzi, singing two movements with sincerity and attractive tone. The latter got this listener’s vote even though Lana Kains’ “Let the Bright Seraphim” from Handel’s Samson was an absolute show stopper. Putting that pesky score to one side (very un-oratorio like, but who cares?), she threw herself into an exhilarating performance with some spectacular ornamentation for the da capo. Kains also had great communication with the audience. Her glowing personality and ability to revel in Handel’s bravura was a reminder that oratorio is not all po-faced seriousness but a celebration of humanity in its stories of sorrow and joy.
Many people contributed to the success of the RMP Aria: the singers, instrumentalists, Andrew Wailes, and the sponsors who make possible what is actually a series of events that culminated in this concert. To all of them we are tremendously grateful.
Photo credit: Paul Dodd
Heather Leviston reviewed Mozart’s Coronation Mass and the RMP Aria Final, presented by the Royal Melbourne Philharmonic at The Edge, Federation Square on August 18, 2024.
