Review: Oregon Symphony expands from Bach to Mendelssohn with elan

Oregon Symphony latest concert expanded from small to large in a program that featured a chamber orchestra number by Bach and a large-scale work for choir, soloists, and orchestra by Mendelssohn. The program, given on February 24 at the Arlene Schnitzer Concert Hall, was led by Music Director David Danzmayr, who elicited terrific dynamics and ensemble playing throughout the evening.

During the summer of 2021, the Arlene Schnitzer Concert Hall underwent a $5 million renovation that really improved its acoustics. The improved sound was a big factor in the orchestra’s superb performance of Bach’s Suite No. 3 in D Major for Orchestra (BWV 1068). Every note came across in a crystal-clear way, but also with warmth and a richness that enhanced the music. The harpsichord, which centered toward the back of the chamber orchestra, could be heard throughout – even when the orchestral tutti sections.

Tight ensemble playing by Concertmaster Sarah Kwak, Principal Second Violinist Chien Vivianne Tan, Principal Violist Amanda Grimm, and Principal Bassist Jason Schooler highlighted the first movement. The slow, restrained second movement – with the sound of the harpsichord stirring above the meditative strings – created an air of serenity that was heavenly. The third movement embodied stateliness with a rich sound – like a full-bodied red wine. The surging rumble of the kettle drums – played by Principal Sergio Carreno – accented the playful character of the fourth movement, which wrapped up the piece with a delightfully – and made listeners – like myself – want to hear even more Bach.

After intermission Mendelssohn’s “Symphony No. 2 in B-flat Major”, aka “Lobgesang” (Hymn of Praise) received it first-ever performance by the Oregon Symphony. The unusual demands of the piece might have been a major factor in delaying the piece. It requires a large choir, but the choir doesn’t sing in the first three movements and then must warble in the following ten movements. It also asks for three soloists with powerful voices because of the large orchestral forces, but one of the soloists doesn’t sing all that much. What a conundrum…

Sopranos Ellie Dehn and Deanna Breiwick and tenor John Matthew Myers teamed up with and the Oregon Repertory Singers and the Oregon Symphony to wrangle Mendelssohn’s hour-long extravaganza. One of the biggest problems in singing this work was the singer’s diction. Words were easily understood when accompanied by quieter passages or whenever a small contingent of the orchestra played. But when the musicians were at the mezzo level or louder, it was impossible to understand the text.

But in the quieter moments and when the orchestra played softly, I could easily understand what was being sung. That really paid off when the chorus sang “Nun danket alle Gott” (Now thank we all our God), which sounded ganz herrlich until the orchestra came in.

The same issues also applied to the soloists. They were enunciated the German, but a lot of it was just unintelligible. Just from pure sound, each soloist was gorgeous – with Dehn singing with a remarkable gold, vibrant tone. Breiwick had to make do with a lesser part, which was very unfortunate. For whatever reason Mendelssohn gave the second soprano short shrift.

Myers gave his passages plenty of verve, and his duet with Dehn in “Drum sing ich mit meinem Liede” (So I will ever sing my song) glowed brightly. The chorus, well-prepared by Ethan Sperry, conveyed the spirit of the piece, but the sopranos – with soaring power – won the day in the last movement, “Ihr Völker, bringet her dem Herrn Ehre and Macht” (Ye nations, offer to the Lord).

The orchestra sounded glorious in the first three movements of the piece – with the trombone choir fashioning a grand statement at the outset. Kudos also to clarinetist Todd Kuhns and Principal Bassoonist Carin Miller for their evocative contributions.

There must be a way for full-throttle numbers like Mendelssohn’s “Logesang” to shine with clear diction that doesn’t seem overblown. I know that it easier said than done, but to get to the highest levels of artistry, that’s what needs to happen.