April 26, 27 (+M) & 28, 2024
Jones Hall
Houston, Texas – USA
Houston Symphony, Andrés Orozco-Estrada, conductor; Joélle Harvey, soprano; Reginald Mobley, countertenor; Will Liverman, baritone; Houston Symphony Chorus; Houston Children’s Chorus.
J. López BELLIDO: Symphony No. 4 (Eclipse) [world premiere]
Carl ORFF: Carmina burana
Lawrence Wheeler | 29 APR 2024
Saturday evening was the third of four Houston Symphony performances at Jones Hall with former music director Andrés Orozco-Estrada. The main work was Carl Orff’s ever-popular cantata Carmina burana. Joining the Houston Symphony was the Houston Symphony Chorus, Julia Hall, interim director, and Houston Children’s Chorus, Stephen Roddy, founder and director. Soloists were soprano Joélle Harvey, countertenor Reginald Mobley, and baritone Will Liverman.
The program began with a world premiere of the first movement of Symphony No. 4 (Eclipse), a Houston Symphony commissioned work by former composer in residence Jimmy López Bellido. Titled “First Contact,” it references the first moment the moon begins to cover the sun during a solar eclipse. The inspiration was the eclipse in 2017. This movement is not a representation of the timeline of an actual eclipse but, as the composer describes, a reflection of the emotional impact of such an “exhilarating, cathartic, and life-changing experience.”
In an onstage conversation with Orozco-Estrada, Bellido mentioned he derived inspiration from Johannes Kepler and his 1619 article The Harmony of the World. Kepler wrote that each planet created different musical intervals, which Bellido used in this work. The piece began with a solo oboe playing E-F-E, Kepler’s interval of the Earth, and developed using mildly dissonant harmonies and symmetrical rhythms.
Through-composed in form (continuous, non-sectional, and non-repetitive) and cinematic in concept, the work builds to a loud and exhilarating full-orchestra climax. It is expertly crafted and orchestrated. Orozco-Estrada led the orchestra in an excellent performance. Hopefully, the Houston Symphony will commission additional movements.
The showy, even flamboyant Carmina burana is the ideal vehicle for Orozco-Estrada’s talents. With the audience still applauding, he twirled around and gave the downbeat for “O, Fortuna.” His theatrical conducting style encouraged dynamic singing from the Houston Symphony Chorus. As a group, they sounded more unified and secure than in some recent past performances. The men sang with admirable articulation and ensemble, and the women were blended and expressive while maintaining excellent pitch. The talented and adorable Houston Children’s Chorus sang with professional-level pitch and ensemble.
The three vocal soloists were highlights. Baritone Will Liverman first appeared by bounding onto the stage, entering through the audience. It was the first of three widely spaced singing positions. Wherever he stood, his emotional power and clarity of diction were compelling. Liverman’s voice was perfect for the operatic qualities of the Orff. The aria “Seething Inside,” which could have been written by Puccini, was thrilling. Already at a top level, his voice is destined for greatness.
Countertenor Reginald Mobley sang his aria about a swan with great humor and vocal ease. He portrayed the swan being cooked and eaten with facial expressions and bulging eyes. It took the audience several moments to catch on, with initially stifled laughs becoming more audible. His limited use in this piece gave hope that he would return in a larger capacity.
Soprano Joélle Harvey was a revelation. Her arias, “There Stood a Young Girl,” “In the Scales,” and “Sweetest Boy” were sung with exquisite vocal control and expression. She can travel up to the highest notes, bend the dynamics to the softest pianissimo, and maintain the lyrical line with perfection. Quick technical passages were sung with clarity and precision. She also displayed seductive humor in her duet with Liverman, “Pleasant Is the Season.” It is simply extraordinary, even amazing singing and a joy to hear. May that happen again and again.
The Houston Symphony was in top form. The opening and closing “O, Fortuna” used many percussion, including an energetic and voluminous bass drum. The orchestra-only Dance builds up from violins to flutes, French horns, and trumpets, deftly managed by Orozco-Estrada. Solo flute and bassoon were given starring roles. Orozco-Estrada was clearly enjoying himself, often connecting with individual players such as principal bass Robin Kesselman.
Following a thunderous standing ovation, Orozco-Estrada asked for quiet so he could recognize the retirement, after 43 years, of violinist Martha Chapman. Thanking her for her devoted service (“She always looked at me as if I was saying something interesting”), he went into the audience to give her a hug. The orchestra stood and applauded warmly. ■
EXTERNAL LINKS:
- Houston Symphony: houstonsymphony.org/
- Andrés Orozco-Estrada: orozco-estrada.com
- Joélle Harvey: joelleharvey.com
- Reginald Mobley: reginaldmobley.com
- Will Liverman: willliverman.com
- Houston Symphony Chorus: houstonsymphony.org/about-us/chorus/
- Houston Children’s Chorus: houstonchildren.org
Read more by Lawrence Wheeler.
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