The Baltimore Symphony Orchestra conducted by Marin Alsop presented Carmina burana Thursday evening at The Music Center at Strathmore. Carl Orff’s epic cantata is known for setting the mood in dramatic situations throughout popular culture. Tonight we will embark on the tradition of its live performance.
In addition to Carmina burana, the BSO also premiered “Unsung” by Lori Laitman. It was a composition commissioned by the BSO as part of the BSO Centennial Commission. Unsung was composed to highlight talented BSO musicians whose execution is often overshadowed. Like an unsung hero, they are considered the melodic core virtuosi of the orchestra, piccolo, English horn, bass clarinet, contrabassoon, tuba, triangle/tambourine and double bass. It’s interesting that the title of the composition is “Unsung.” This combination of instrumentation embellishes heroism. Like a victory parade for a successful battle. While listening to it, I invoked images of a picturesque green valley with the sun peaking over the horizon reflecting off the armor of a caravan of knights marching in the direction of a dark mountaintop. It was a very adventurous sound.
A treat that was also included in the program was Stravinsky’s Symphony in Three Movements. It was written between 1942 and 1945 right in the middle of World War II. Stravinsky insisted the piece was about absolute music. As in, music without extra meaning. However, did admit it does reflect on the arduous time period. The symphony transitions from torment and tension to finally cessation and relief. I definitely noticed a quirky dissonates that was un-nerving. War symphonies particularly World War II themed symphonies are interesting. They reflect a time of unimaginable atrocities not only in Europe but around the world. Not a symphony per say but Prokofiev’s Sonata No. 6 is a great example of the same type of quirky dissonance. These types of war themed music have the ability to draw you in a twist your emotions. I credit Marin Alsop for including Stravinsky’s Symphony in a program featuring Carmina burana. A song that is known for embellishing drama.
Carmina burana has played such an important role in popular culture. It’s almost like Lori Litman’s “Unsung” but of the world surrounding multi-media. It has been used in not only television and film but also advertisements, video games, football marching bands and sports stadiums. It’s been covered and sampled from music artist across all genres. It really is remarkable.
Post intermission the back tier of the stage was full. The Baltimore Choral Arts Society along with the Peabody Children’s Chorus was in place. Carmina burana was about to start. This performance featured Anna Christy, soprano, Matthew Plenk, Tenor, and Elliot Madore, Baritone. Right from the opening movement you can feel the drama and power of Carl Orff’s poem. Written in Latin the words just roll right off your tongue.
Carmina burana looks like a lot of fun to perform. The chorus appeared like they were enjoying performing this piece. Baritone soloist Elliot Madore has a prominent role throughout the performance. His voice is so powerful and smooth. He was so expressive with his delivery. He accompanied the choir and orchestra really well.
Everybody is familiar with the opening movement, a fortissimo that thumps with lyrical dissonance. This concert was the opportunity to hear Carmina burana in its entirety. It’s fantastic because there are lesser known movements that are terrific. Movements such as the second, I bemoan the wounds of Fortune, Movement 14, When we are in the tavern, and also Movement 12, The Roast Swan. Those are some personal favorites.
The other soloist Anna Christy and Mathew Plenk were spectacular as well. Anna Christy has the ability to hold a note for an unbelievable amount of time. She can also change the volume of her voice from barely audible to really loud effortlessly. You could hear this during Movement 17, A Girl Stood. She put on a beautiful performance.
Tenor, Mathew Plenk was really cool. His expression is so stout. He only had one aria throughout the whole performance that was for Movement 12, The Roast Swan. So for most of the concert he sat with his eyes closed and an ultra-serious look on his face. And then when it was time for his solo he stands up a rocks the whole Music Center with a voice so loud you would swear he was wearing a microphone but obviously without one. It was really cool.
This was a spectacular performance, Marin Alsop directed it well and the BSO was amazing, very well done.
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