Perfect Beethoven and rousing Janáček from Dinis Sousa in Liverpool

Janáček’s Glagolitic Mass is one of the most unconventional choral works in the repertoire. It is a setting of the mass, but written by an atheist whose spiritual concerns focused more on nature than the church. And this setting of the mass is in its translation into Old Church Slavonic – the earliest attested Slavic language which was used to bring Christianity to the Slavic people, and which is still used for liturgical purposes in some Orthodox churches. Glagolitic was the alphabet in which it was written, related to but distinct from Cyrillic. As a result there is an archaic, elemental aspect to the music blending with the modernist idiom of Janáček’s music.

The Royal Liverpool Philharmonic Orchestra and Choir, conducted by Dinis Sousa, gave a rousing performance. The opening orchestral introduction set up its unique sound world of this work. Rasping trombones gave their special contribution, frequently joined by ferocious timpani interjections. The strings could veer from harsh to sweet in a moment.

Janáček required five soloists for his Mass but only the organist has much of a starring role. Daniel Greenway burst through the orchestral textures at key moments and impressed in the penultimate movement for organ alone. The four vocal soloists had a harder time. Soprano Evelina Dobračeva was the most impressive with significant contributions to the Gospodi pomiluj (Kyrie) and Slava (Gloria) movements in particular. All too often she, like the other soloists, was overwhelmed by the orchestra or choir. Tenor Ladislav Elgr had a larger role but often sounded strained. One would have liked to have heard more from mezzo-soprano Katarina Karnéus and bass Jan Martiník, but their roles were frustratingly brief.

It was the Royal Liverpool Philharmonic Choir that really shone. Their quiet entrance with Gospodi pomiluj was breathtaking; their full outbursts in the Veruju (Credo) movement filled the Philharmonic Hall with glorious sound. They sounded completely at ease with Janáček’s idiom and appeared to have no difficulty singing in this unfamiliar language. After the organ solo the Mass concluded with a return to the orchestral opening rounding off a rare opportunity to hear this remarkable work.

The first half of the concert comprised a well-nigh ideal performance of Beethoven’s Pastoral Symphony. Sousa evidently felt no need to impose a personal interpretation; he let the music speak for itself and the result was extremely satisfying. Cheerful feelings on arriving in the countryside were very quickly awakened as was evident from smiles all round the audience. The balance between instruments was perfect (helped by the fine acoustics of the Philharmonic Hall). The details of the woodwind were clear throughout. The pacing was just right; nothing was rushed but the slower sections did not drag. There was a certain lightness of touch in the merrymaking of the third movement which made the ensuing thunderstorm all the more dramatic. The classical proportions of the work were clear and the depiction of nature was very effective. The finale glowed with contentment. With a performance such as this it was obvious why the Pastoral is one of the world’s best-loved symphonies.