Chichester Psalms on LNotP

[ardcarp]

Any views on this performance, or of Iestyn as soloist?

[doversoul1]

As this is not a work I know very much about (nothing at all to put it plainly), I cannot say how appropriate the countertenor is to the work on the whole, but if the part was written for either a treble or a countertenor, I think Iestyn Davies was the best, or the only choice for the part. Any other countertenors would have had the similar effect as Ian Bostridge in Dowland in the last Chamber Concert Prom.

I’ll be very interested to hear the opinions of more knowledgeable members about the appropriateness of the countertenor in the work.

I thought his singing was glorious.

[rauschwerk]

I’ll be very interested to hear the opinions of more knowledgeable members about the appropriateness of the countertenor in the work.

The composer insisted on a male soloist, and that's that.

[Mary Chambers]

I've sung the Chichester Psalms, a piece I dislike quite a lot, apart from the solos which aren't bad (they were sung by a boy alto when I did it). Almost all Bernstein has a hint of Broadway to me, which may be OK in some contexts, but it's not something I enjoy.

I've said on the other thread, I think, that for me Iestyn Davies was the high point of the evening. I don't think I've heard a countertenor in it before, but it seems perfectly appropriate. I've heard him sing quite often, and he's just about never been less than perfect. I tend to be a bit nervous when I hear him now, just in case something spoils his record! It seems almost supernatural to be able to sing as well as that.

[Sir Velo]

Far too derivative of Les Noces in the first movement. Pity Dean Hussey didnt have the balls to reject it!

[rauschwerk]

Far too derivative of Les Noces in the first movement. Pity Dean Hussey didnt have the balls to reject it!

I heard a story that Bernstein never got paid...

[EnemyoftheStoat]

Well, it would have been interesting to hear some comments on the performance, well, apart from the amazing Iestyn.

[DracoM]

For me, this was pretty well the best thing of the evening.

The BBCSO had played the Wagner in their sleep, but Ms Alsop had got them up for the Bernstein, and the instrumental playing was razor sharp - some terrific muted trumpet and percussion work, and huge luscious strings particularly - and some of the movements were faster than I have ever heard any chorus manage the very tricky Hebrew words too. Corus right up for it too. Good. Iestyn Davies, immaculate, and, Di Donato take note, a supreme example of less is more.

BUT that said, despite that praise, I think the innocence of a boy treble / alto brings the prayer at that point more drama in a way than the somewhat richer, more langorous, knowing tone of Mr Daies - not his fault, it's what countertenors seem to do these days with vibrato etc. I wonder that if Bernstein had heard such a voice, whether he might have been more specific about having a boy rather than making it an alternative, since the countertenor he might most have had in his mind's ear might have been a Deller / Bowman etc at that time, both of whom make a very different sound to Iestyn Davies? But then again, was he thinking of a synagogue cantor maybe, who have much more licence to interpret scripture than a boy treble can / would in the Anglican tradition?

Just a thought.

[duncan]

I attended the LNoTP rehearsal and Marin Alsop devoted the longest time and greatest attention to this piece. It's not hard to imagine this was her personal choice given her well-documented admiration for Bernstein.

The story I was told is that the original plan was for the soloist to be a boy treble. Auditions identified several ideal candidates but the BBC allegedly decreed they were too young to perform at that time of the evening and the switch to a counter-tenor was made at a late stage. This explains the lack of credit for Iestyn Davies in the printed Proms guide.

[EnemyoftheStoat]

It was something to do with those below a certain age not being allowed to perform solo after 7pm for broadcast - not sure whether it was a BBC thing, an RAH thing or Westminster council. Silly though.

[Mary Chambers]

It was a very late decision. I suppose he just happened to be free, though he was in the middle of recording Handel arias during the day. Judging by his comments on Twitter, he found the LNOP experience terrifying!

[Gabriel Jackson]

The story I was told is that the original plan was for the soloist to be a boy treble. Auditions identified several ideal candidates but the BBC allegedly decreed they were too young to perform at that time of the evening and the switch to a counter-tenor was made at a late stage. This explains the lack of credit for Iestyn Davies in the printed Proms guide.

Really? The Temple Church choristers (including a very good treble soloist) took to the stage at 10pm in Tuesday night's late Prom.

[Roger Judd]

If the BBC really did rule out a boy treble for the Chichester Psalms for that reason, then, clearly, the right hand knoweth not what the right hand doeth.

I must say that I thought the Psalms were performed wonderfully, and it was great to hear the full orchestra, as Bernstein originally envisaged, rather than the cut-down version usually heard.
RJ

[ardcarp]

Er...the Temple boys singing in another prom much later in the evening?

I like The Chichester Psalms very much (what's wrong with a bit of Broadway schmolz?) and agree the BBCSO played it very well, as they did Candide. The choir perhaps lacked a certain bite and incisiveness...but then it was a very big bunch at some distanace from Ms Alsop. But like Draco, it was for me (plus The Lark) the highlight of the evening.

I remember hearing a superb performance at the SCF conducted by John Birch, but many years ago.

[mopsus]

http://www.youtube.com/watch?v=CqUpMvMEBRw