Coote, Britten Sinfonia, Shave, Hetherington, Wigmore Hall | Classical music reviews, news & interviews
Coote, Britten Sinfonia, Shave, Hetherington, Wigmore Hall
A stunning Britten cantata crowns arias, laments and masterly music for strings
Benjamin Britten would have been 99 on the day of this concert. He died aged 62, nearly six months after the premiere of a masterpiece, the 15-minute "dramatic cantata" Phaedra, ruthlessly sifting key speeches from Robert Lowell’s translation of Racine. The compression of inspired, marble-hewn ideas, the like of which few contemporary composers come anywhere near in operas of two hours’ length or more, places Phaedra on a pedestal. Many of us would be happy to admire it in isolation, especially in the company of Alice Coote, a mezzo as equal to its stature as the original interpreter, Janet Baker. Here it crowned a bumper programme blending laments and arias with string music from the Britten Sinfonia which shook the foundations of the Wigmore Hall.
The light and the dark, which meet so pitilessly in Britten’s cantata, were kept apart in the first half. After the Rondeau from Purcell’s Abdelazar, purposefully stripped of the grandeur which Britten applied to introduce young persons to the orchestra, a trio of laments was not quite as expected. We heard Nico Muhly’s atmospheric presentation with its spooky halos around the entombed vocal line, rather than Britten’s "Purcell realisation", of Job's lament, "Let the night perish"; Coote fine tuned her spellbinding lowest range to the shifting string textures around her. We anticipated her remaining, poised as ever, centre-stage for Dido’s "When I am laid in earth", but got instead Leopold Stokowski’s uncharacteristically chaste, voiceless version.
In which company Tippett’s spirit of decorative delight shone in his own unmistakeable voice, fusing more sobriety from Dido and Aeneas with a dash of "Sellinger’s Round" projected by the Britten Sinfonia’s ardent violinist-director Jacqueline Shave. Coote returned to live and breathe the happy spirit of doughty Ruggiero in Handel’s Alcina, not a special Britten favourite, but a perfect leavening in this programme.
The da capos of Ruggiero's two gentle idylls favoured the inward tones which are among this great mezzo’s special conjuring tricks rather than any inappropriate ornamentation. Drama rather than fireworks kept the showy "Sta nell’Ircana" burning. Coote (pictured right) now presents a chest voice so electrifying that you fear it might detach from the warm middle range and a flawless top; but as yet there are no signs of a fatal break in this fabulous instrument. If the words occasionally disappeared, blame that on the acoustics of the crowded platform under the Wigmore dome.
Britten and Tippett, one-time colleagues, shared a place in the sun with two utterly characteristic string pieces after the interval, neither of which I’d heard in concert before – and I wanted to hear them again, immediately. Shave's vivacious team was luminous in the assurance with which it etched the dashing centrepiece of Britten’s Prelude and Fugue and the long-limbed sense of grand play in Tippett’s far from Little Music for Strings.
Phaedra, with percussion and harpsichord joining the team to ratchet up the tension, needed a conductor, Richard Hetherington, to take fluent control from Shave. Even in a programme shot through with gravitas, there was one moment which went deeper than all the rest: the point at which Coote’s guilty heroine acknowledged the outcome of her adulterous passion by ascending the scale in Britten’s awe-inspiring setting of the line "Death to the unhappy’s no catastrophe".
Amplifying the sentiment in the ensuing Adagio, the strings turned the screw to set our heroine visibly on the rack, Coote’s features eventually subduing agonized spasms to form a tragic mask for the last rites. A pealing out of the most resplendent top A known to mezzos sealed her anguish at "Theseus, I stand before you" before the final miraculous control over the agony of death. The silence at the end signified that we’d all lived through an entire tragedy in a mere quarter of an hour. If there's a better realisation of Britten's distilled genius in centenary year, we will be lucky indeed.
- The Wigmore Hall's Britten series continues on Friday 30 November with the Canticles
- This concert is available to hear again for the next seven days on the BBC Radio 3 iPlayer
Share this article
Subscribe to theartsdesk.com
Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 10,000 pieces, we're asking for £2.95 per month or £25 per year. We feel it's a very good deal, and hope you do too.
To take an annual subscription now simply click here.
And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?
more Classical music
A welcome re-airing of James MacMillan's striking opera/passion/ritual
Viennese piano music, a singer-songwriter's debut opera and experimental sounds from Kansas City
A reinvented minimalist classic is let down by poor sound quality
Great pianist, great company: the classiest and most generous of celebrations
What are the elements that make up Einaudi's music?
Organic grandeur stops short of engagement
Historically informed Czech repertoire, weighty music from a 20th century giant, and three sets of piano variations
A compelling revival for a song cycle out of the blue
Military incursions in vivid masterpieces by Haydn and Nielsen
Six out of seven pieces going nowhere: no pizzazz about this jazz/classical melée
Personal tributes, farmyard fun and a jazz-inspired world premiere
Robert Craft, great Igor's guide to old and new music, has died at the age of 92