In NTR Radio’s Zaterdag Matinee concert, Canadian soprano Barabara Hannigan showed her extraordinary gifts as both a singer and conductor, moving seamlessly from one skill to the other in a concert of Stravinsky, Haydn, Mozart and Nono. Hannigan opened the concert with the unaccompanied solo ‘Djamila Boupachà’ from Luigi Nono’s Canti di vita e d’amore (1962), a sombre, haunting poem of hope in times of war and tyranny. Beginning with a plaintive resonant humming, Hannigan’s ethereal purity and flexibility of sound easily encompassed the soaring and swooping intervals and extreme dynamic changes of Nono’s ghostly protest against political oppression.
Before the last note had faded, Hannigan turned round on the podium to conduct ensemble Ludwig in the opening movement of Haydn’s 49th symphony, “La Passione”(1768). Despite the great stylistic gap between Nono and Haydn, the spacious, elegiac Adagio seemed an appropriate, compassionate response to the vista of mourning and contemplation laid before our gaze in the Nono. Hannigan led the ensemble in a gracious, restrained interpretation, with a very warm sensibility and a large sense of space, her pale arms moving in wide sweeping arabesques like seaweed or a mermaid’s arms glimpsed in the ocean. While the title “La Passione” was, like many such titles, attached to the symphony after its first performances, and by someone other than the composer, the connotations of sacrifice and sublimation seemed in keeping with the tone set by the Nono, and continued in Anne Trulove’s passionate aria of divided loyalties.
The ensemble Ludwig formed as a collective in response to arts reorganisation in 2012, which resulted in many job losses among musicians. In a creative response, many of those musicians came together to form a flexible collective through which they could support and collaborate with each other and follow their artistic vision. This urge towards integrity and passion in collective music making certainly showed in the united voice of the orchestra, which spoke with a distinctly warm and personal tone.
The Allegro di molto was a triumph of contained energy and precision, with Hannigan’s direction drawing our attention to the wider sweeping phrases and larger architecture of the movement. The Menuet and Trio was elegant and grand, but the final Presto really allowed the discipline and joie de vivre of the ensemble to come to the fore. Playing with great lightness and precision, and a sense of strong tension held tightly in balance, the ensemble again brought our attention to the graceful architecture of the piece rather than the smaller individual features.