AN ALMIGHTY HAYDN ‘CREATION’
CBSO at Symphony Hall ★★★★★
The scientific story of the creation of the universe arrived in 1931 when the physicist Georges Lemaître pictured it mysteriously arising from a single primeval atom. Haydn, a century and half before, presented the event more graphically, impressively and transcendentally without a single mathematical equation. His oratorio ‘The Creation’ begins with ‘The Representation of Chaos’ in a sinuously shifting hushed C minor which defeats our expectations by never reaching the musical closure we instinctively crave. Kazuki Yamada directed the CBSO as if in stealth mode, everything held in check. The bass Ashley Riches, towering over everyone as the Archangel Raphael, was just the man to intone, “In the beginning God created Heaven and Earth.” Enter the CBSO Chorus, hushed and subdued describing the Spirit of God surveying the inchoate darkness. Then comes one of the greatest coupes in classical music – another surprise from the man who composed the ‘Surprise’ Symphony – beginning with an innocent string pizzicato. Haydn enjoyed telling people that it was the sound of God striking a match. Then comes the universal Big Bang – “and there was light”. The mighty outburst from the combined chorus and orchestra, a cry of pent-up exultation swept through Symphony Hall, had Yamada levitating from the podium and an audience thrilled. After such a start the next two hours might easily seem anti-climactic. Not here. Yea verily, this was a cracking performance.
In recent years many of my favourite concerts have been those featuring the CBSO Chorus, so splendid, so versatile – Elgar’s solemn ‘Gerontius’, Orff’s rumbustious ‘Carmina Burana’, and as bar room drunks, terrified peasants and avenging demons in Berlioz. Julian Watkins, the Chorus Master, has done a terrific job. To use a sporting cliché, they have ‘moved up a level’. On a visit to London Haydn had been impressed by Handel’s oratorios and in ‘The Creation’ he gave the chorus opportunities to match their splendour. Their ‘The Heavens are Telling’ rang out with absolute authority and the shape-shifting fugal ‘The wonder of his works’ was brilliant as Haydn moves the music from section to section in an imperiously majestic call-and-response.
The trio of soloists excelled. Carolyn Sampson was radiant in the soprano aria ‘With verdure clad’ and when joining the chorus in ‘The marvellous work’. As the Archangel Uriel the tenor is mostly confined to narration and scene setting but James Way did so elegantly, in ringing pure voice. Riches showed wry humour in the catalogue of animals, the roaring lion, flexible tiger and buzzing insects all vividly portrayed by the orchestra. Haydn gives every section a chance to shine – roaring brass and inky-black basses – and adds piquant touches like the trio of flutes which opens Part III. Yamada ensured that the orchestra bloomed in Haydn’s many miniature tone poems. Riches and Sampson were well partnered as Adam and Eve, the ‘sweet companions’ side by side on the platform joined in blissful human – not celestial – harmony. The work ends joyfully: ‘O happy pair, and ever happy henceforth’ sings Uriel. What could go wrong? “Oh, and never trust talking snakes,” he might have added.
Norman Stinchcombe