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By ANDREW POWELL MUNICH \u2014 Staged works and the legendary Lied evenings hold the limelight here at the annual Opernfestspiele<\/em>, begun 139 years ago. But veins of chamber music and, since 2008, choral programming run through the five-week schedule, lending scope and affirming organizer Bayerische Staatsoper<\/a>\u2019s depth of musicianship. The chamber offerings can be hit or miss, depending on the precise collaborations of Staatsorchester<\/a> members and their scores; string trios on July 24 proved a hit. The choral initiatives attempt to thread back to the company\u2019s 16th-century roots as a Kantorei<\/em>, drawing on Staatsopernchor<\/a> members passionate about church repertory; Rossini\u2019s Petite messe solennelle<\/em> on July 23 proved a stretch.<\/p>\n David Schulthei\u00df<\/a> (violin), Adrian Mustea<\/a> (viola) and Allan Bergius<\/a> (cello) teamed collegially at the ornate Cuvilli\u00e9s Theater<\/a>. Their nervous way with Beethoven\u2019s C-Minor Trio from Opus 9 left the 1798 piece sounding brittle and oddly pale, but in Dohn\u00e1nyi\u2019s charming, unpredictable, five-movement Serenade in C (1902) things shifted into vibrant high gear underpinned by Bergius (who once had another career<\/a>), peaking in the chromatically salted Scherzo. Mozart\u2019s E-flat Divertimento, K563 (1788), with its searching Adagio and rich minuet movements, served as flattering vehicle for the stylish and technically assured work of Schulthei\u00df, one of the orchestra\u2019s concertmasters. Mustea\u2019s unusually resonant viola, here and throughout, provided a firm sense of ensemble and ensured a memorable night.<\/p>\n The 1863 Mass was a feasible festival choice for the reborn \u201cM\u00fcnchner Hofkantorei<\/a>,\u201d not needing an orchestra. Even so, its ironic jolts<\/a> and the matter of choral direction versus leadership by the principal piano tended to defeat efforts at the Court Church of All Saints<\/a>. Staatsopernchor member Wolfgang Antesberger<\/a> aptly paced the score and directed robust performances of the Gloria and Credo choruses. But Rossini leaves much of the initiative to the first pianist, requiring bold propulsion and phrasing that Sophie Raynaud<\/a> at times lacked, although her Pr\u00e9lude religieux<\/em> took good shape. Solo singing varied widely in quality and approach.<\/p>\n Photo \u00a9 Wilfried H\u00f6sl<\/p>\n Related posts:
Published: August 29, 2014<\/span><\/p>\n
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\nVerdi\u2019s Lady Netrebko<\/a><\/p>\n