Review: Fauré’s Requiem, Royal Northern Sinfonia & Chorus
A masterclass in how sad music can make you happy
“Exquisite,” remarked a seasoned Royal Northern Sinfonia (RNS) watcher on the way out of Sunday’s concert, a woman who knows her onions when it comes to classical performances in the main hall at The Glasshouse.
That was it in the neatest of nutshells – an exquisite homage to French composer Gabriel Fauré whose career ran from the end of the 19th Century and up until the years just after the First World War.
And the hall was packed, not a spare seat to be seen (by me anyway).
The headline piece was the famous Requiem, performed after the interval and described by Swedish conductor Sofi Jeannin as a “consoling” example of the form rather than one full of angst.
It was composed by Fauré not in memory of anyone or anything in particular (although he did see action during the Franco-Prussian War) but, he insisted, for the pleasure of it.
Since its first performance in 1888, it has given pleasure to many other people and remains hugely popular with its seductive melodies and lightness of touch.
It will have accounted for Sunday’s impressive turnout, although the presence of Roderick Williams as the baritone soloist will have been a contributory factor.
As my RNS-watching friend said appreciatively, he makes singing seem effortless. And not only does he have a wonderful voice but he radiates pleasure in the moment, flashing smiles at the audience and viola section leader Mike Gerrard – and that in the midst of a requiem mass.
Unfortunately, followers of soprano Alexandra Lowe will have been wrongfooted because she was a very late stand-in – and an absolutely brilliant one – for Hilary Cronin who had had to pull out due to illness.
There was some drama in the staging with visiting violinist Pablo Hernán Benedí demonstrating his delicate bow work from a standing position and organist Andrew Passmore centre stage in front of the conductor.
Both the orchestra and the 70-plus voices of the RNS Chorus were magnificent as ever, generating a glorious sound that reverberated softly around the hall.
The first half opened with the plucked strings of Fauré’s beautiful Pavane, a short piece which you’ll probably know even if you think you don’t.
Next, after warm words of welcome from the conductor, came the Pelléas et Mélisande Suite, drawn from incidental music Fauré composed for a play by Maurice Maeterlinck, and finally his early Cantique de Jean Racine which won him a composition prize when he was still at school.
All this served as an enjoyable appetiser for the post-interval masterpiece whose expert delivery was warmly received, the applause long and loud as the soloists, the affable conductor (matching Mr Williams smile for smile) and chorus director Tim Burke lined up at the front of the stage.
I remember people used to worry about a dwindling audience for classical music. On this evidence, that concern looks misplaced – although times have been tough for orchestras and remain so.
What a treasure we have in our Royal Northern Sinfonia, keeping the music alive. Details of its forthcoming concerts can be found on The Glasshouse website.