Review: Oregon Symphony's Carmina Burana benefits from new stage

A massive stage build-out successfully accommodated massive choral forces to deliver an exciting performance of “Carmina Burana” with the Oregon Symphony at the Arlene Schnitzer Concert Hall on November 20. All-in-all, around 150 singers were perched on risers that took up most of the regular stage area. The build-out included an extension for the orchestra over the first few rows in the hall where the audience normally would sit. The result was a richer sound from the chorus and the orchestra and a feeling of immediate sonic presence.

Orff’s magnum opus benefitted from the revised configuration with Principal Guest Conductor Jun Märkl leading the entire enterprise that included the Portland State University Chamber, Rose Choir and Thorn Choir, plus the Pacific Youth Choir, and soloists. The opening statement, “O Fortuna,” burst out of the gates with bombastic vigor, creating the medieval backdrop where the lives of men and women were controlled by fate. The choirs countered that mood in the “Primo Vere” sequence, which celebrated the hopefulness of springtime, and they were enhanced by the regal baritone sound of Troy Cook. The singers conveyed the Minnesinger sentiment – ranging from chivalric to hyperbolic – of love poetry in the “Uf dem anger” section with panache, including a rousing “Hey” at its conclusion.

The men of the choir raised a lively ruckus during the In Taberna numbers. Tenor Mark Molomot used a large red scarf to aid his depiction of a roasted swan, but some of his highest notes didn’t ring clearly. Baritone Cook added to the fun as the alcohol-imbibing-abbot by removing his jacket in mock braggadocio.

The women of the choirs created enticing moments in the “Cour d’amors” section with a lovely, seductive sound. The Pacific Youth Choir added to the atmosphere, and soprano Katrina Galka topped it all off with evocative solos, culminating with an ecstatic “Dulcissime.” The final choruses brought the hour-long work to a satisfyingly declamatory ending as the wheel of fate from the beginning chorus reemerged.

Kudos to PSU conductors Ethan Sperry, Coty Raven Morris, Phill Hatton, and Annie Thomas as well as Pacific Youth Choir’s Artistic Director Chris Maunu for expertly preparing their singers.

Having almost all of the orchestra in the same room as the audience was just a terrific experience – not only for “Carmina Burana,” but also for the purely orchestral selections on the concert program. Audience members may not realize that the Schnitz was not built as a concert hall. It was built as a vaudeville and silent movie house. The stage area is almost like a separate room from where the audience sits. Ideally, it is best to have the orchestra and the audience in the same room. A few years ago, the orchestra spent a lot of money to upgrade the space with the Constellation acoustic system (by Meyer Sound). That renovation has improved the concert experience immensely, but positioning the orchestra further into the concert hall was unbelievably superb.

From my seat in the balcony, I could hear all sorts of details in the first piece of the evening, Debussy’s “Danse” (Tarentelle styrienne) as orchestrated by Ravel. This six-minute work positively sparkled. Carefully sculpted dynamics added a punchy quality and enhanced the colors and toe-tapping spirit of the piece.

Richard Strauss’s “Til Eulenspiegel’s Merry Pranks” also received an incisive and delightful performance from the orchestra. Til’s jokey motifs were evoked by Principal Hornist Jeff Garza and Principal Clarinetist Mark Dubec with elan. Scenes of mayhem, academic piety, and the final trial and execution were vividly expressed.

Directing the tone poem and the Debussy from memory, Märkl had the complete sonic palette at his fingertips and elicited outstanding performances from his forces.

Final note: The performance on Thursday night was the first time that that the orchestra had done so this year. That’s part of a new schedule that the orchestra is doing this season. The next one will take place on Thursday, January 29, with Music Director David Danzmayr on the podium.