Review: VSO starts new season on the upswing with Carmina Burana and sold-out concerts

There’s nothing like a sold-out weekend of concerts for a season opener, and that bodes well for the Vancouver Symphony, which celebrated its 47th season with a very robust “Carmina Burana” and a set of intermezzos by Pietro Mascagni. Perhaps the overwhelming success of the Vancouver Arts and Music Festival a couple of months ago has inspired more people to check out the orchestra. Whatever the reason - the jam-packed crowd at Skyview Concert Hall put VSO Music Director Salvador Brotons and the orchestra into sonic overdrive, resulting a glorious performance on Sunday afternoon (September 28).

With its exotic and declamatory sounds “Carmina Burana” proved to be an excellent choice for revving up the audience. Written by Carl Orff – inspired by miscellaneous medieval texts (Latin and an early German dialect from Bavaria) from a Benedictine monastery – the cantata has been a staple of the symphonic repertoire since it was premiered in 1937. The VSO collaborated with the Portland Symphonic Choir, expertly prepared by David Xiques on behalf of PSC Artistic Director Alissa Deeter, soprano Abigail Krawson, tenor Sam Faustine, and baritone Zachary Lenox to give a thoroughly exciting performance of the hour-long work.

Starting with “O Fortuna”, the chorus generated thunderous sonic waves that expressed the fatalist view of the Middle Ages. That heaviness lightened up a bit in the first set of songs about springtime (Primo Vere). The singers announced a glimmer of hope and Lenox enhanced it, singing of the warmth of the sun. They chorus also wonderfully conveyed the intimate scenes in the Uf dem Anger (On the Green) section where feelings of love emerge. After the explosive “Hei” that closed “Were diu werlt alle min” (Were all the world mine), the audience erupted with “Wow” and vigorous applause.

Lenox kicked off The In Taberna (In the Tavern) set with da visceral tribute to alcohol by a commoner and by the abbot. Faustine flew in from the wings to deliver a superb account of the swan being roasted on a spit, and the men of the chorus topped everything off with a raucous drinking chorus, “In taberna quando sumus” that is rousing can-can number. That elicited “Wows” from concertgoers.

The chorus gave the third section Cours d’Amour (Court of Love), a lusty hue, and Krawson graced the climactic ascent of the “Dulcissime” solo with a lovely high D. The chorus created a vibrant “Blanziflor et Helana” (Blanziflor and Helen), and still had gas in the tank for the final “O Fortuna” chorus and its crushing wheel of fate. That brought listeners to their feet with enthusiastic cheering.

Brotons elicited an excellent orchestral sound – with kudos to flutist Darren Cook for his solos. Brotons conducted the entire piece from memory, impressively signaling the accented words during the uptempo drinking song at the end of the In Taberna segment. At one point, he leaned back on the rail as if a bit worn out.

The first half of the concert featured intermezzos from four different operas by Mascagni. That was an interesting choice since none of them contained a fanfare. Fortunately, Brotons talked to the audience between each piece, giving brief introductions that provided some context. The lush and relaxed intermezzo from “Cavalleria rusticana,” was the most familiar, since it is Mascagni’s most famous opera. That contrasted well with the intermezzo from “L’amico Fritz” which was grander and very passionate. Brotons coaxed sweetness from the orchestra – complete with the soothing sounds from the harp – for the intermezzo from “Gulielmo Ratcliff.” The percussion section got a bit of a workout in the intermezzo from “Isabeau.”

The Portland Symphonic Choir joined forces with the orchestra to produce a magnificent “Inno al Sole” (Hymn to the Sun) from Mascagni’s “Iris.” It opened with a solo from Garrett Jellesma’s double bass and a melodic line that expanded into the orchestra and choir. The result was glorious and resonated with the audience, which responded straight away with a standing ovation.

It was not immediately apparent that the texts for "Carmina Burana" and “Inno al Sole” were available via a QR code on a separate sheet that listed the Portland Symphonic Choir roster. That was cleared up during intermission, but after concertgoers had taken their seats. I'm not sure how much of the audience really knew much about the words being sung, but it didn't seem to matter. The music succeeded anyway.

Post Script: It should be noted that the concert marked the first appearance of concertmaster Aromi Park since her debut in that role at the Vancouver Arts and Music Festival a couple of months ago. She continues a long line of female concertmasters in the orchestra.