Tunnustatud Briti kaunite kunstide veebiväljaanne theartsdesk.com kirjutab TTÜ Akadeemilise Meeskoori triumfist Piccadillyl
Kriitik David Nice toob välja TTÜ Akadeemilise Meeskoori uudse kõla, isikupära, sügavuse ja sarmi, mis hoidis kontserdikülastajaid oma lummuses.
Not all the music was first-class, either, in the Saturday evening programme of the Academic Male Choir of Tallinn University of Technology (*****), to give TAM its full, unwieldy title. But the novelty of Baltic voices, their personality, depth and charm, held the spell throughout a very well-devised and presented sequence. We're familiar with the vibrato-free but bass-rich and tonally nuanced sound from Finnish choirs like the Polyteknikkojen Koro from Aalto University in last year's Proms highlight, Sakari Oramo's performance of Sibelius's Kullervo Symphony; but of course Estonian is not the same language, and the choral pride of Europe's greatest success story shines in those huge festivals in which at least half the country seems to participate.
"Ballads" was the theme, and there were two peerless highlights. In Voices from Tammsaare's Herdboy Days, Estonian master composer Veljo Tormis assembles Estonian folksongs including a recording of a traditional female singer, and weaves a symphony of sound around them; the mounting, constantly modulating sequence at the two-thirds mark was thrilling.
And why have I never previously heard live in concert Britten's The Ballad of Little Musgrave and Lady Barnard? The composer's dramatic genius tells a tale with splendid contrasts in all of ten minutes, a mini-opera no less fine in its way than his late drama for mezzo and small orchestra Phaedra. Fellow audience members wondered why we laughed when the cuckolded husband "lifted up the coverlet, he lifted up the sheet" on his wife and her lover, but the nervous humour at a moment of high tension is unmistakeable.
A top-notch collective deserves the finest of special guests, and they got it in the shape of compatriot Ain Anger, currently singing Pimen superbly in the Royal Opera Boris Godunov and a bass in a million. You know it when you hear it. The ease, sonority and resonance immediately impressed themselves on us in the uncompromising grimness of Tubin's Song of the Retreating Soldiers. Then Anger had his Wagnerian moment in the sun, totally at ease with Daland's Act 2 aria from The Flying Dutchman in between rollicking sailors' choruses (I don't know what the Estonian is for "rhubarb", but these jolly men rhubarbed genially between verses). In short, the icing on a very splendid 70th birthday cake for this unique ensemble.
Artikli täistekst: theartsdesk.com