symphony 298 88.
(photo credit: Courtesy)
Different though Faure’s Requiem and Brahms’s German Requiem are from each other
in style and character, their successive performance in one program of the
Jerusalem Symphony Orchestra brings the mood of depression to its
Nevertheless, Canadian conductor Keri-Lynn Wilson knew how to
emphasize the difference between the two and therefore make this double bill an
In Faure’s masterpiece, she sensitively conveyed
the work’s lyricism and consolatory message. The performance’s highlight was
Hila Baggio’s solo “Pie Jesu.” This piece of rare inspiration requires nothing
less than an angelic voice and expression, and that is what Baggio’s lovely and
caressing soprano accomplished.
In Brahms’s work, the conductor wisely
highlighted its immense contrasts, from the profoundly despairing chorus “For
all the flesh it is like grass” through the exciting doomsday prophecy “For the
trumpet shall sound” to the comforting soft conclusion “Blessed are the dead
that are resting from their labors, and their deeds follow them.”
Mosley displayed an appealing, dark-timbred baritone, though somewhat weak for
the dimensions of the Henry Crown Auditorium.
The Israeli Opera Chorus
proved that not only in opera it is capable of rendering an impressive
Radiant sopranos, sonorous basses and middle range voices
that blend in harmoniously and transparently displayed effective nuances of
dynamics. The choir sounded meticulously well trained and
Only in its German enunciation was there room for
improvement to let German native speakers understand the sung words without
resorting to the printed text.