Ain Anger Sings Mussorgsky with Cavernous Authority

08/04/2016

Dean, Mussorgsky, Beethoven: Ain Anger (bass), Scottish Chamber Orchestra, Olari Elts (conductor), Queen’s Hall, Edinburgh, 7.4.2016. (SRT)

Dean: Testament

Mussorgsky: Songs and Dances of Death (arr. James Ledger)

Beethoven: Symphony No. 5

Olari Elts is a regular collaborator with the Scottish Chamber Orchestra, but while this gives him a warm relationship with them, it hasn’t meant that he has ended up doing things out of habit. Quite the reverse.  He approached Beethoven’s Fifth Symphony as though it was being played for the first time, with sparkling energy, clear articulation and a sense of narrative drive that rendered the whole thing sort of unarguable (even though his horn section let him down more than once).  There was also a molten string sound running under the brio of the first movement, which came into its own in the Andante, and he gave us a Scherzo of beautifully judged contrasts.

Likewise, Brett Dean’s Testament, inspired by Beethoven’s state of mind as he wrote the Heiligenstadt Testament, felt logical and precisely articulated, from the desperate scratching of the opening through the false hope of the Razumovsky quotations and the climactic terror of the disjointed ending.  If Dean was trying to evoke Beethoven’s anguished uncertainty, then his interpreters told that story with rock-solid clarity.

The most interesting thing on the programme, though, was James Ledger’s arrangement of Mussorgsky’s Songs and Dances of Death.  Eschewing Rimsky-Korsakov’s and Shostakovich’s orchestrations, Ledger adopts a setting for violas, cellos, basses, harp, horns and clarinets, giving a totally distinctive and utterly appropriate darkness to the sound.  It’s used very intelligently, though, with skirling clarinets to evoke the snowstorm of the Troika and, in the opening Lullaby, the cellos sounding both richly alluring as the voice of death and shuddering panic at the mother’s entreaties.  It also has the advantage of reducing the chance of the soloist being swamped, though there’s little danger of that when Ain Anger is your bass.  Fresh from the recent run of Boris Godunov at Covent Garden, Anger has a dominant voice that filled the Queen’s Hall effortlessly.  He isn’t Russian, but he has all the characteristics of the most profound Russian basses; namely cavernous authority and the narrative articulation to match.  He is utterly commanding in this repertoire, not just in setting the narrative scene – showing that you don’t need an opera stage to tell a story – but especially when he spoke the words of Death himself, booming with authority when, for example, he spoke the words “You are mine!” at the end of the Serenade.  His is a voice you don’t argue with and you don’t forget.

Simon Thompson

 

Print Friendly

Comments

Leave a Reply

Recent Reviews

MW

Facebook-button-1

Season Previews

__________________________________
  • NEW! The 2018 BBC Proms __________________________________
  • NEW! Bampton Classical Opera Celebrates its 25th Anniversary with Nicolò Isouard’s Cinderella __________________________________
  • NEW! Pop-Up Opera’s 2018 Mozart Double Bill __________________________________
  • NEW! Zurich Opera in 2018/2019 __________________________________
  • NEW! Let’s Dance International Frontiers (LDIF) 2018 Celebrates its Eighth Year __________________________________
  • NEW! Gloucester Choral Society’s Hubert Parry’s Centenary Celebrations in May 2018 __________________________________
  • NEW! Chess at the London Coliseum from 26 April for 5 Weeks __________________________________
  • NEW! The Three Choirs Festival 2018: A Preview __________________________________
  • NEW! 2018/19 Season at the Royal Opera House __________________________________
  • NEW! 2018 Cheltenham Music Festival – 30 June to 15 July __________________________________
  • NEW! Staatsoper Unter de Linden in 2018/19 __________________________________
  • NEW! St Petersburg Ballet Theatre Bring Swan Lake to London in August __________________________________
  • NEW! English National Ballet Announces its 2018-19 Season __________________________________
  • NEW! The Cleveland Orchestra’s 2018-19 Season __________________________________
  • NEW! Booking Open for Longborough Festival Opera 2018 __________________________________
  • NEW! Additional Tickets Now Available for Nevill Holt Opera’s Le nozze di Figaro __________________________________
  • NEW! Leeds Lieder’s Four-Day Celebration of Art Song in April 2018 __________________________________
  • Subscribe to Review Summary Newsletter

    Reviews by Reviewer

    News and Featured Articles

    __________________________________
  • NEW! Chelsea Opera Group Perform Massenet’s Thaïs at the Cadogan Hall on 23 June __________________________________
  • UPDATED! Carly Paoli Sings for Chelsea Pensioners, at Cadogan Hall, and Signs for Sony/ATV __________________________________
  • NEW! A Q&A WITH ITALIAN BARITONE FRANCO VASSALLO __________________________________
  • NEW! A First Charity Classical Music Concert at Finchcocks on 27 May __________________________________
  • NEW! MICHAEL SANDERLING IN CONVERSATION WITH GREGOR TASSIE __________________________________
  • NEW! HOW TO CONTACT SEEN AND HEARD INTERNATIONAL __________________________________
  • NEW! Trinity Laban Moves to Abolish All-Male Composer Concerts __________________________________
  • NEW! ARABELLA STEINBACHER IN CONVERSATION WITH GREGOR TASSIE __________________________________
  • NEW! Matthew Bourne’s Cinderella in Cinemas on 15 May with Live Q&A __________________________________
  • NEW! THE CONDUCTOR LAURENCE EQUILBEY IN CONVERSATION WITH COLIN CLARKE __________________________________
  • NEW! Newly Discovered Song by Alma Mahler to be Performed in Oxford and Newbury __________________________________
  • NEW! A Q&A WITH LISETTE OROPESA AS SHE RETURNS TO LA OPERA FOR ORFEO ED EURIDICE __________________________________
  • NEW! A Q&A WITH ANDREA CARÈ AS HE RETURNS TO COVENT GARDEN AS DON JOSÉ __________________________________
  • NEW! Rafael de Acha Introduces Some of Cincinnati’s New Musical Entrepreneurs __________________________________
  • Search S&H

    Archives by Week

    Archives by Month