Symphony tops superb program

Conductor’s pragmatic approach produces a brilliant performance

by David Gordon Duke

MOZART REQUIEM
Vancouver Symphony Orchestra
Orpheum Theatre, Nov. 22

Mozart with a difference was the point of this week’s VSO Masterworks Diamond programme conducted by guest Bernard Labadie, founder and director of Quebec City’s early music ensemble Les Violons du Roy. From the sombre opening measures of the Masonic Funeral Music K. 477, played in lieu of an overture, the fundamental sound of the VSO was altered. A significantly reduced complement of instruments, bringing the ensemble down to the number of players used in the 18th century, redefined the balance between strings and winds; breathy non legato bowings and almost no vibrato made the strings transparent and clear, yet pungent.

The major work on the programme was the Requiem K. 626, with members of the Vancouver Bach Choir. Labadie’s approach was perforce pragmatic. A large choir and traditionally trained orchestral players using modern instruments in the Orpheum’s 20th century concert-hall acoustic can only go so far towards recreating an authentic 18th century sound. Musicologist Robert Levin’s “revised and completed” score and Labadie’s compromises gave listeners a fresh, convincing reading of an old favourite.

On paper the emphasis on authenticity of both score and aspects of the performance practice might hint at bloodlessly correct “academic” attitudes. Monday’s audience quickly discovered that Labadie’s conception of the piece was grand, virile, and often thrilling. The choir’s intensity in the fast and furious Dies irae was astonishing, their Lacrimosa edgy and taut. Despite their relatively small forces, the bright orchestral playing invariably cut through the big choral sound, intensifying contrast and drama. Among the quartet of solo singers, soprano Karina Gauvin and mezzo Anita Krause turned in distinguished performances.

Yet the real highlight of the evening came in the first half, with the E flat Symphony K 543. Never in recent seasons have the VSO strings played with such purpose. Labadie’s fondness for very, very little vibrato and carefully thought out articulations and dynamics demanded complete focus from every desk. On occasion there were lapses — old habits die hard, and it may be that not every player was entirely comfortable with the idiom.

But the overall standard was impressive, the playing crisp and vital throughout, and the resulting performance nothing less than a revelation.

Vancouver Sun
23 Nov. 2004

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