Classical Review: Collegium Singers

The Collegium Singers place noticeable emphasis on musical aesthetics, though somewhat at the expense of emotional expression in the Mendelssohn pieces.

By URY EPPSTEIN
November 18, 2013 04:45
1 minute read.
Singer [illustrative]

Singer [illustrative] 370. (photo credit: Reuters)

 
X

Dear Reader,
As you can imagine, more people are reading The Jerusalem Post than ever before. Nevertheless, traditional business models are no longer sustainable and high-quality publications, like ours, are being forced to look for new ways to keep going. Unlike many other news organizations, we have not put up a paywall. We want to keep our journalism open and accessible and be able to keep providing you with news and analyses from the frontlines of Israel, the Middle East and the Jewish World.

As one of our loyal readers, we ask you to be our partner.

For $5 a month you will receive access to the following:

  • A user experience almost completely free of ads
  • Access to our Premium Section
  • Content from the award-winning Jerusalem Report and our monthly magazine to learn Hebrew - Ivrit
  • A brand new ePaper featuring the daily newspaper as it appears in print in Israel

Help us grow and continue telling Israel’s story to the world.

Thank you,

Ronit Hasin-Hochman, CEO, Jerusalem Post Group
Yaakov Katz, Editor-in-Chief

UPGRADE YOUR JPOST EXPERIENCE FOR 5$ PER MONTH Show me later Don't show it again

A capella singing was a welcome opportunity to enjoy the Tel Aviv Collegium in its concert’s first part. Divided indiscriminately between Israeli and Romantic music, it presented Ben-Haim’s Ladino Songs and Mendelssohn’s Songs op. 59.

The Collegium Singers place noticeable emphasis on musical aesthetics, though somewhat at the expense of emotional expression in the Mendelssohn pieces.

Be the first to know - Join our Facebook page.


Excellently pure intonation, appealingly soft voice production even in strong passages, clear transparency, sheer vocal beauty of radiant female voices and sonorous male ones, and perfect balance were a pleasure to hear.

Mendelssohn’s songs, however, sounded somewhat pale and indifferent, marred also by not always intelligible German enunciation.

The fair division between Israeli and Romantic music was maintained also when the orchestra joined in. Oded Zehavi’s orchestral version of his “Happy be those who sow,” in its first performance, displayed a skillful use of diverse instrumental tone colors that the work’s original two-piano version could hardly achieve.

The program’s concluding high point was Schubert’s Fourth Mass. In the Gloria, the Collegium Singers at last rose to expressing infectious joy. The solo singers – soprano Sarah Even-Haim, alto Merav Aldan, tenor Yuval Golan, bass Noam Mor – blended in harmoniously with each other, the choir and the orchestra.

The orchestra sounded cohesive, well-balanced, and radiated enthusiasm and vibrancy.



Hebrew-only program notes and the lack of the works’ texts amounted to a somewhat amateurish presentation of the event.

Related Content

Sarah Silverman
August 26, 2014
Jewish women take home gold at 2014 Emmys

By JTA