Nagano's Missa Solemnis and a new Rihm in Munich

Bayerisches Staatsorchester Festspiel-Konzert - Nationaltheater, Munich, 27 July 2007
(Münchner Opernfestspiele 2007)

Wolfgang Rihm - Psalmus. Musik fur Fagott und Orchester
Beethoven - Missa Solemnis

That orchestral wallflower the bassoon got itself a starring role in Wolfgang Rihm's new work Psalmus, given its premiere tonight as part of the Munich Opera Festival. Rihm is not known for drastic innovation, and he lived up to his reputation with this OKish but hardly startling work. A sinuous bassoon line weaves through a slow, measured orchestral drift. Kent Nagano conducted stick-free, his hands gliding elegantly into tai chi-like positions. It is a calm and meditative piece, fitting its religious title well.

The soloist Pascal Gallois demonstrated a stunning range of technical accomplishments, including circular breathing on extended single notes (proving that sometimes playing slowly can be the trickiest thing of all).

After just twenty minutes or so, it politely slipped away into silence like a Bentley pulling up to the kerb. Neither the shortness of the work nor the unassuming ending had been expected by the audience. Gallois had to down his bassoon with a theatrical flourish and Nagano skip off the podium before we realised it was time to applaud. This is a work I would be happy enough to hear again, but wouldn't bother to seek out specially.

The main part of the evening was given over to Beethoven's Missa Solemnis, featuring soloists Anja Harteros, Daniela Sindram, Jonas Kaufmann and Christof Fischesser. Nagano picked up his baton for this one, and referred only sporadically to his score. He seemed more prepared than the soloists. There was a distinct whiff of under-rehearsal. Although the few pure solos gave a glimpse of outstanding ability, there was difficulty in settling on a mutually acceptable balance in the ensemble sections. Here Nagano provided no guidance, concentrating his energies on the orchestra and chorus. This left the soloists almost inaudible at times. As well, both Harteros and Kaufmann were noticeably stretched on the most cruelly high notes. Although Fischesser appeared to be masticating a boulder of invisible toffee every time he sat down, it must have worked for him, because his sonorous opening of the Agnus Dei was the highlight of the solo work, and his group contributions were firmly delivered, without being overpowering.

The chorus too had their ragged moments where the work got particularly high or fast, but generally they offered a clear and balanced sound. Fortunately Nagano was able to steer the orchestra to an intense perfomance that largely compensated for the vocal details that went awry.

(More photos here.)