Concert Review: Haydn: The Creation

Klara Ek's crystalline, bright soprano, admirably captured the angelic quality of her role.

By URY EPPSTEIN
March 19, 2009 08:28
1 minute read.
Concert Review: Haydn: <I>The Creation</I>

Music good 88. (photo credit: )

 
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

Israel Philharmonic Orchestra Haydn: The Creation Jerusalem Theater March 13 The first part of Haydn's Creation, conducted by Helmuth Rilling, was graciously given to Jerusalemites by the Israel Philharmonic Orchestra as part of its matinee series. The mouthwatering performance caused anticipation to hear the work's following parts - which have been played in Tel Aviv. The performance's hero was the Gaechinger Kantorei choir. What a group! Though not particularly small, its intonation sounded impeccably pure and cohesive, as though only a single person were singing - but with a richness of sound that only a large choir can produce. The voices seemed to have been handpicked for sheer vocal beauty. The choir's articulation of phrases was razor-blade incisive, and lucid transparency reigned even in the most intricate fugal passages. Pronunciation was such as to let one understand every single syllable and word. The singers' intense involvement with the text's spirit was fabulous. After the almost-whispered Chaos, the contrasting "And there was light" shone in all its luminous glory. Klara Ek's crystalline, bright soprano, soft and caressing even on the highest notes, admirably captured the angelic quality of her role. The radiant tenor of Lothar Odinius impressively described the sun running its course. Nathan Berg's sonorous dark-timbred baritone appealingly switched over from the tempestuous storms to the delicately falling soft snow. Responding sensitively to the indications of Rilling's baton, the orchestra gave its very best. And then, when one had just become expectant of the work's continuation, it was suddenly all over. What a pity! And, if an autobiographical note may be permitted in this context, it brought back memories, as this was the very first work that this reviewer ever heard in a live concert, at the ripe age of eight, in a provincial German town.

Related Content

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

By JTA