The Royal Liverpool Philharmonic Orchestra’s all-French programme began with a rousing start in a suite from Carmen. Conductor Ben Glassberg built up the excitement and brought out the variety of orchestral timbres to evoke the sunny but dangerous Spain of Bizet's opera. This suite did not, however, conclude with the procession of the toreadors. Instead, we moved without a pause straight into Fauré’s Pavane which was rather disconcerting. Both the Bizet and the Fauré were beautifully played. Woodwind players gave fine accounts of their crucial contributions, in particular Principal Flute Cormac Henry.
In The Sorcerer’s Apprentice there was again much focus on the woodwind, with the bassoonists revelling in their unfamiliar spot in the limelight. Glassberg and the RLPO told the tale of the hapless apprentice’s misadventures with panache, alternating between anxious anticipation and frenetic activity. Crisp playing and attention to the silences between phrases ensured that the audience got all the musical jokes in this most enjoyable of miniature masterpieces.
For the second half of the concert the orchestra was joined by the Royal Liverpool Philharmonic Choir for Fauré’s Requiem. Choral concerts always seem to attract a large audience at the Philharmonic Hall. The choir was founded along with the orchestra in 1840 and together they have become central to Liverpool’s cultural life. The choir is now under the supervision of Matthew Hamilton in the new role of “director of choirs and singing”. His predecessor as chorusmaster, the long-serving Ian Tracey, retired earlier this year but supported the choir and orchestra from the organ this evening. It is evident that Hamilton is continuing the high standards of his predecessor.
Fauré’s Requiem is a peaceful, reflective work with none of the high drama of those by Mozart or Verdi. The mood is serene, yet when there is a relatively forceful episode it is all the more striking because of the context. Jacques Imbrailo sang the baritone solos in a reverential manner. His Hostias was serious and calm. The soprano soloist Eleonore Sian Cockerton had only a small role but her Pie Jesu was beautiful and moving. The RLPO played Fauré’s subtle score with understated brilliance.
The real star though was the choir, creating a solemn, peaceful atmosphere. Their performance of the flowing melody of the Sanctus was stunning. The concluding In paradisum was breathtakingly moving. With a performance like this, how could we not believe in eternal rest? Glassberg ensured that there was an extended silence to enable us to reflect on the music after it had ended and before the applause began.
This concert was given on Armistice Day when we remember those who gave their lives in the First World War and in more recent conflicts. At a time when there is more conflict in the world than we would have imagined just a few years ago, Fauré’s Requiem felt like a piece of music that was speaking to us directly and was all too relevant to 2023.
