Ein deutsches Requiem (A German Requiem) by Johannes Brahms has been one of those touchstone pieces at Milwaukee Symphony Orchestra. Edo de Waart conducted it in 2010, applying his approach of clarity and careful balance. The piece was a favorite of conductor Andreas Delfs, who preferred to stress color, sweep and warmth.
Guest conductor Robert Spano, music director of the Atlanta Symphony Orchestra, led Brahms’ Requiem on Friday evening in a spacious and deliberate performance. At its best the music was stately and lush, but I found myself wanting less restraint at times. Only in the penultimate section did things finally heat up. Soloist Nmon Ford has a baritone voice of rich color and operatic size. Though certainly good, in my opinion this music is better served by a more sensitive and nuanced singer. Jessica Rivera’s creamy, beautiful soprano made her solo a highlight.
The Milwaukee Symphony Chorus was best and most blended when the music was at a contained volume. Occasional exposed stretches featuring the bass and alto sections came off as less than refined in tone, diction and vowel blend.
Jennifer Higdon’s 2002 composition “river sings a song to trees,” from her larger work City Scape, was performed as an opener before the Requiem. This 18-minute piece has a glow of good spirits, with lush majesty and spells of gentle pastoral color. The climaxes reminded me a bit of Aaron Copland.
On Saturday, the Early Music Now season kicked off with the ensemble La Nef at St. Paul’s Episcopal Church. The program of John Dowland songs, primarily arranged as if performed in a 16th-century Irish pub, featured tenor soloist Michael Slattery. He has a lyric, pure voice that is sweetly expressive, and brought an understated actor’s presence to the concert. The five-member instrumental ensemble (on lute, cittern, flute, recorder, violin and cello) created colorful, imaginative, sophisticated sounds. Highlights were the soulful and poetic “His Golden Locks,” and Dowland’s most famous song, “Come again, sweet love.” Some arrangements were contemporary rather than 16th century in style, but so what? I liked them anyway, and very much enjoyed the spirit of the project.
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