The RSNO management usually likes to begin and end its Edinburgh and Glasgow seasons with a large-scale choral masterpiece. And they don't come much larger than Berlioz's astonishing Grande Messe des Morts. The performing arts in Paris had recently become dominated by the large-scale form of grand opéra, with works by Rossini, Auber, Halévy and especially Meyerbeer, achieving great popularity. Berlioz always struggled to get his own examples performed, and Les Troyens came much later in his career. This government commission must have been a welcome opportunity to show what he could do with large resources.
The forces assembled by the RSNO in the Usher Hall really did strain the capacity of the auditorium. Both orchestra and choir were boosted by students from the Royal Conservatoire of Scotland. Back in 1989, when the Edinburgh Festival put on an excellent performance, the forces were smaller, with two of the brass bands on either side of the stage and the other two in the dress circle as close to the stage as possible. This was very different - no room for any bands on stage and they were spread around the balcony, much higher and hugely impressive, 38 named brass players, with the orchestra's principal trombone especially prominent in 'Band 3 (West)'. Lance Green led the trombones on stage, now retiring after 42 years in the orchestra.
The solo tenor, Magnus Walker, made a great impression on management as a last minute replacement in the second performance of the War Requiem a couple of years ago. The Messiah last New Year confirmed that impression, and so here he was in the notorious tenor aria near the end. Last time the tenor emerged briefly from the wings and stood on the half-landing near the timps. This time he came on maneuvring his way through the violins to occupy a tiny space between conductor and leader. His sweet voice soared out beautifully, without apparent effort.
This was a superbly memorable occasion, greeted with near hysteria by the audience, nearly all of whom must have been encountering the fabulous work for the first time. A great challenge for all the participants followed the next evening, with a repeat required in the very different Glasgow hall.
The orchestra's Music Director, Thomas Søndergård, is clearly in his element with these big spectaculars. There are plenty for him still to tackle, and the next season kicks off on 4 October with Mahler's Second.
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