MidAmerica Productions presents New England Symphonic Ensemble in Review
Leslie Dala, Marc-André Bougie, and Peter Tiboris, Conductors
New England Symphonic Ensemble
Preston Hawes, Artistic Director/Concertmaster
Stern Auditorium at Carnegie Hall, New York, NY
March 23, 2024
MidAmerica Productions, led by founder Peter Tiboris, presented the excellent New England Symphonic Ensemble in a concert March 23, 2024, at Carnegie Hall. Three well-loved masterpieces, Mozart’s Coronation Mass and the Overture to The Marriage of Figaro, Beethoven’s monumental Symphony No. 5 in C minor, Op. 67, and the New York premiere of Marc-André Bougie’s Magnificat formed the program. Choruses from Arkansas, North Carolina, Texas, and Canada (Vancouver, BC) joined the New England Symphonic Ensemble for the Coronation Mass and the Magnificat. This was MidAmerica’s 1,482nd concert worldwide, 1,146th in New York, and 691st in Carnegie Hall.
Leslie Dala took the podium to conduct Mozart’s Mass in C major, K. 317, commonly known as the Coronation. It does not seem that Mozart composed this mass for a specific coronation. The Imperial court in Vienna gave the mass this nickname in the 19th century after it became the preferred music for coronations and other imperial occasions. The nickname was included in the first edition of the Köchel catalogue of Mozart’s works in 1862. The program notes tell us that Mozart used material from this mass in future works (most notably in The Marriage of Figaro), but I would like to add that Haydn also alluded to this rich material in the slow movement of his Symphony No. 98 in B-Flat major (a nearly identical quote of the Agnus Dei).
Mr. Dala led with a light touch, projecting the exultant quality of Mozart’s conception. It’s easy to see why this work became a favorite, and it still sounds (245 years after its composition) as fresh as if it had just been written. Kudos to the New England Symphonic Ensemble for showcasing that “freshness” with what seemed to be a practiced ease. The chorus was solid throughout.
The vocal soloists – soprano Brittany Hebel, mezzo-soprano Emily Hughes, tenor Minghao Liu, and bass-baritone Andrew Dwan – all have impressive performance credentials, so it was not surprising that all were exceptional in their respective roles. All had strong projection, precise intonation, and clear diction. What was truly notable was their ensemble. If one did not know better, one might have thought that they had worked as a group for years. No one voice dominated the others, which is more unusual than one might expect. This listener was completely taken with this, which took an otherwise “good” performance into the “great” category.
After the Mozart, Marc-André Bougie (b. 1976) took the podium to conduct the New York premiere of his seven-movement Magnificat. As the composer wrote in the program notes, he wanted to create something original while following in the footsteps of his great predecessors in their settings of the Magnificat. I can state that Mr. Bougie was successful in this goal. Mr. Bougie writes in a strict tonal manner, but with interesting harmonic and rhythmic twists more closely associated with 20th century music. The first movement (Magnificat) was filled with joy and enlivened with syncopation. It reminded me of John Rutter, but not in a “copycat” way. Soprano soloist Alaysha Fox was a revelation. Her exquisitely controlled vibrato, strong projection, and crystalline voice, especially in the upper register in the Quia respexit and Esurientes, were highlights for this listener. This might be a controversial opinion, but I believe the success of this work relies to a great extent on how well the soprano soloist deals with the challenges of the demanding solos. Let’s not forget tenor soloist Suchan Kim, who was a force and a star in his own right in the Lord, now dismiss your servant movement. The New England Symphonic Ensemble was (again) superb. The chorus was well prepared, and having Mr. Bougie’s own home chorus (who had already performed the work) no doubt was an added benefit. The Gloria Patri, which employs the opening theme of the first movement built to a triumphant finish. The audience gave Mr. Bougie a well-earned ovation.
After intermission, Maestro Tiboris took the podium. Mozart’s Overture to The Marriage of Figaro was given a sprightly, felicitous reading. One might say it was “dessert before dinner.” Dinner took the form of Beethoven’s Symphony No. 5 in C minor, Op. 67, which followed. So much has been written, and so much lore is attached to this work, that one could fill volumes – “Fate knocking on the door” and “V for Victory” (the first four notes corresponding to the letter V in Morse code: …- ) are two of the best-known. Those opening four notes might be the most recognizable in the entirety of music – even those people who know nothing about music know the “da-da-da-duh!”
About those four notes – I have heard the musical equivalent of a twenty-car pile-up by some top-notch orchestras (who I will not name) for what seems to be the simplest of openings. Spoiler alert: it is not simple. Maestro Tiboris led with a decisive hand, and I breathed a sigh of relief as those opening bars were strong and precise. This set the tone for the rest of the work. I have written in earlier reviews about my admiration for Maestro Tiboris’s minimalist approach – no histrionics or sweeping gestures – and my opinion remains the same. He knows his orchestra is highly capable and does not feel the need to “over-conduct.” That’s not to say he is not engaged. When it is necessary he is demonstrative and demanding. This worked especially well for this performance. This listener has a nearly half-century love of this symphony and still gets a thrill out of hearing a fine performance. The audience reacted with a loud and extended ovation for Maestro Tiboris and the New England Symphonic Ensemble. Bravo!
Maestros Dala and Bougie joined Maestro Tiboris on-stage for a final bow. Congratulations to all!
