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Sunday, October 15, 2000

Mozart's 'Requiem' superb by festival chorus, CSO




By Janelle Gelfand
The Cincinnati Enquirer

        It's the stuff of legend. One can hardly fail to be moved by Mozart's Requiem, left unfinished on his deathbed.

        Yet the performance by the May Festival Chorus and Cincinnati Symphony Orchestra under guest conductor Robert Porco Friday night was uncommonly powerful, marked by superb choral and solo singing, and impeccable accompaniment by the CSO.

        The attractive program that drew from the Baroque and classical periods included J.S. Bach's Brandenburg Concerto No. 5, with orchestral soloists in the concertino, and Cantata No. 191, Gloria in excelsis Deo.

        Mr. Porco, who has been director of choruses for the May Festival since 1989 and for the Cleveland Orchestra since 1998, may well be the country's pre-eminent choral conductor.

        His interpretation of the Requiem (using the Sussmayr version)was deeply committed and eloquent. Tempos were well-judged, and the movements flowed seamlessly.

        He elicited focused singing from the chorus, as well as a rich variety of color. Fugues were crisp and the chorus sang with cushiony lightness.

        A highlight was the Lacrymosa, where the chorus' velvety texture and somber mood resulted in a powerful emotional impact.

        The balanced quartet of soloists — soprano Janice Chandler, tenor Stanford Olsen, mezzo Marietta Simpson and bass-baritone Nathan Berg — provided consistently fine expression.

        At the vigorous conclusion, the Music Hall crowd of 1,558 gave it a standing ovation.

        In the first half, Mr. Porco led the first CSO performance of Bach's Cantata No. 191. A celebratory cantata based on the Gloria of Bach's B Minor Mass, it opened with trumpets and clipped enunciation in the chorus. Mr. Olsen and Ms. Chandler beautifully matched their voices in the duet at its center.

        The evening opened with the Brandenburg Concerto No. 5, with concertmaster Timothy Lees, principal flutist Randolph Bowman and harpsichordist Michael Chertock as soloists. Although attractively played, a crisper attack and more consistent tempos would have made it more satisfying.

       



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