As Easter draws near, the Staatsoper Unter den Linden’s long-established annual celebrations – the Festtage – feature a set of works of vast proportions and considerable ambition; not only the opera house's new production of Wagner’s Ring, but also a performance of Beethoven’s imposing, genre-defying Mass in D major, the Missa solemnis. Originally scheduled to be conducted by Daniel Barenboim, the concert had a change of cast which placed Jérémie Rhorer on the podium, leading the Staatskapelle Berlin and a cast of soloists including some Staatsoper regulars. In a way, the few familiar faces on stage brought to mind the family gatherings that are so common at this time of the year, but despite the aura of domesticity and a number of thrilling moments, the concert sometimes proved disconnected, occasionally blurring the clarity of Beethoven’s score.
Its laborious genesis mirroring the composer’s tireless reflection on – and experimentation with – formal matters, the mass, like much late Beethoven, transcends the limitations of practicality. Indeed, its very composition defied both time restrictions (with its planned premiere being long overdue) and logistic constraints (its length making it virtually impossible to perform as a part of the liturgy). Yet these were but the consequences of a deeper meditation on religion and faith, which directly affected the structure and style of the mass – hence its exceptional, challenging nature.
Overall, Rhorer’s interpretation could be described as monumental, hardly surprising for a work that has earned a reputation as one of the finest examples of Western religious music. The orchestral outbursts in the score, the upsurges that listeners most immediately associate with Beethoven’s idiom, soared easily especially in the Kyrie and Gloria. A significant contribution came from the Staatsopernchor who, under the guidance of Martin Wright, achieved incredible coordination and malleability, opening up in glorious homophony and closing ranks in the fugato sections.
But within this grandeur, the orchestral and vocal weave of Beethoven’s score lost some of its transparency, resulting in a certain fogginess and unevenness – if Rhorer erected a monument, it was one that could have used some more chiselling. However, venturing into the Credo, the performance grew increasingly cohesive, treating the audience to some enthralling moments. Such is the case, for instance, of the serene collective “Amen” that closes the Credo itself, or the extended violin solo in the Benedictus, which gave concertmaster Wolfram Brandl a chance to demonstrate just how smooth even the highest register may sound.
Bridging between orchestra and chorus, the four soloists constituted a solid, balanced ensemble. Camilla Nylund’s soprano sounded precise and clear, tinged with a sorrowful tone especially in the Agnus Dei. The two Staatsoper regulars, Anna Kissjudit and René Pape, respectively stood out with her commanding alto, whose low register was full and powerful, and his well-known bass that is so rich and sturdy. Finally, Saimir Pirgu’s well-projected tenor pierced through the air on more than one occasion, while retaining a softness that aptly merged with the rest of the cast.
