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Music by Mozart Review
What: music by Mozart. The Orpheus Choir conducted by Michael Fulcher with Morag Atchison, Ben Makisi, Anna Sedcole and Sarah Rooney; Vector Wellington Orchestra.
Where: Wellington Town Hall
Reviewer: Lindis Taylor
For the first time I can remember, no performance of Handel’s Messiah by a major choir will take place this year in Wellington. However, the choir will perform Messiah next Easter.
The Mozart pot-pourri that conductor Michael Fulcher devised attracted a good house, with the help of sponsors, Spicers, and their guests. It introduced the audience to less familiar works, particularly the operas Idomeneo, written ten years before Mozart’s death, and La Clemenza Di Tito, begun after but performed before The Magic Flute in the composer’s last year. Though both have had concert performances here, neither is likely soon to be seen on stage.
As well as finely-tuned accompaniments, the 32-piece orchestra played the Overture to Don Giovanni and the first movement of the Paris Symphony.
The concert centred on choral excerpts from operas and liturgical works, offering many striking examples of the choir’s present excellence under Michael Fulcher. Mozart’s genius in setting opera choruses can easily be overlooked, and brilliant pieces such as the peasant girls’ celebration of the forthcoming wedding of Figaro and Susanna, the short choral Finale from The Abduction from the Seraglio, and the chorus of Romans singing in praise of their magnanimous emperor Titus, were most impressive. The choir excelled in choruses from Idomeneo, in the Gloria from the Coronation Mass and parts of the great Requiem.
In between and often embedded in the choral excerpts were solos, the stars of which were soprano Morag Atchison and tenor Benjamin Makisi. Since her return from singing professionally abroad for some years, Atchison has established a significant place in New Zealand. Her voice is brilliant (along with agility in the famous Alleluia), secure and interestingly coloured. Atchison’s first aria, Porgi amor (The Marriage of Figaro), gained by her rising from a chair after a few bars, to bring the scene to life.
Makisi entered to join Atchison in Fra gli amplessi from Cosi Fan Tutte, a most arresting vignette. He was impressive enough in the 2004 touring production of the same opera, but his voice has settled and he is now master of polished vocal and histrionic skills.
He also sang the stunning bravura aria Se all’impero from La Clemenza Di Tito, with which he won the rich McDonalds Aria in Sydney. Sopranos Anna Sedcole and Sarah Rooney filled out roles in other ensembles.
Not Messiah, but a concert with an interesting theme, excellently performed.