Friday night’s performance of Gurtram was a remarkable unveiling of a rarely performed but powerful work by Richard Strauss. From the onset, Strauss’s mastery of rich symphonic intones was evident with its roaring motifs and orchestra colors, just as those that excite listeners like Till Eulenspiegel or Ein Heldenleben.
In the hallowed acoustic splendor of Carnegie Hall’s Stern Auditorium, the Oratorio Society of New York, under the masterful direction of Kent Tritle, presented a splendid concert of profound musical and spiritual significance that left one feeling intellectually enriched and emotionally transformed. The OSNY Carnegie Hall program opened with the world premiere of Paul Moravec and Mark Campbell’s “All Shall Rise” and, following intermission, continued with Mendelssohn’s monumental Symphony No. 2, “Lobgesang”—a brilliant juxtaposition illuminating the extraordinary capacity of these works to speak across centuries to our deepest human concerns. From beginning to end, this was an inspirational concert of rare distinction, accompanied by a superbly informative program booklet containing scholarly notes, complete texts, and lucid translations.
In the vast, resonant expanse of the Cathedral of St. John the Divine, Musica Sacra, under the inspired direction of Kent Tritle, delivered a SurRound II concert of such ethereal
On a crisp February evening, the magnificent Cathedral of St. Ann & the Holy Trinity in Brooklyn became a portal to the cosmos. The Brooklyn Chamber Orchestra, conducted by Maestro Philip Nuzzo, took the audience on an immersive journey through the galaxies with Gustav Holst’s epic The Planets and Malcolm Arnold’s dazzling Concerto for Orchestra and Piano Duet.
From its stirring overture to its heart-wrenching close, the performance was a triumph of musical and narrative synthesis, demonstrating the operatic form’s capacity to confront profound societal issues. Moreover, Blind Injustice transcends its medium, serving as both an artistic achievement and a call to action. The post-performance discussions with several exonerees were a vital extension of the opera’s message, grounding its art in lived experience. These conversations, as integral to the evening as the music itself, reinforced the opera’s urgent plea for reform.
It was an evening of world-class artists. The chorus characterized their roles with enthusiasm and dynamism, articulating the afflatus of the Passion with precision, drama, and dignity. Bel canto, lyric tenor Jacob Perry sustained his effulgent, commanding role as the Evangelist through recitative and virtuosic melismatic passages with aplomb. Stentorian Bass Baritone Enrico Lagasco glowed in his vocal power and authority as Jesus. Bass Baritone Andrew Padgett delivered his role as Pontius Pilate with the expected commensurate assurance. Soprano Elisse Albian portrayed her roles with bright, expressive, lyrical precision and crystalline purity. Countertenor Reginald Mobley’s exquisite contributions were delivered with elegance.
Carl Philipp Emanuel Bach, the second son of Johann Sebastian Bach, carved his unique identity in the musical world. Unlike his father’s baroque complexities, C. P. E. Bach’s compositions incorporated bold harmonic language, rhythmic intensity, and poetic drama. Tonight’s program showcased two of his masterpieces: Heilig, H.775, and the U.S. premiere of Die Auferstehung und Himmelfahrt Jesu, H.777. These works reflect a daring blend of tradition and innovation, qualities that inspired even Mozart to conduct three performances of Heilig in 1788.
The Church deemed the Miserere so sacred that it forbade its performance outside the chapel. This masterpiece was revealed only during Holy Week, and any attempt to transcribe or share it risked excommunication. For more than a century, its mystery remained intact. Yet, in 1770, a 14-year-old prodigy named Wolfgang Amadeus Mozart changed history.
Kent Tritle and The Oratorio Society ensured that the ineffable rapture of J. S. Bach’s Mass in B Minor was ably expressed while articulating the vision, technique, Affektenlehre, and unparalleled harmonic sense of the music. We also experienced the intended fulfillment of harmonic tension and what one might consider to be Bach the Baroque in music. The concert performance was breathtaking, the glorias were splendid, and the closing Dona nobis pacem was exquisite.
This perfect sacred miniature, though brief, captures the essence of spiritual reverence and musical elegance. Its poignant melody and harmonious simplicity invite listeners into a serene, reflective state, transcending time and cultural boundaries.
