Although Uwe Grodd can draw power from his choir, stressed soprano tone is a recurring worry. Photo / Supplied
Although Uwe Grodd can draw power from his choir, stressed soprano tone is a recurring worry. Photo / Supplied
Uwe Grodd introduced Auckland Choral's Amadeus concert with an admission that its title was borrowed from "that famous movie".
Accordingly, the first half of the evening was something of a potpourri; Mozart in Miniature, with guest soloists accompanied by Pipers Sinfonia.
Chung-Kuang Lin's Non piu andrai proved a lacklustre affair,coming after Grodd had whisked his orchestra through a neat Marriage of Figaro Overture. The Taiwanese baritone hardly convinced us we had met one of opera's wiliest charmers.
Lin's Serenade from Don Giovanni had to contend with a shaky mandolin obbligato and, in duet, singing La ci darem, he was somewhat overshadowed by Susanna Risch.
The German soprano's vibrato, worrying after just a few notes, was even more distracting in Ch'io mi scordi di te, set against the generally smooth stylings of pianist Matteo Napoli.
On the instrumental side, Emma Richards delivered the Finale from Mozart's E flat Horn Concerto with such aplomb that one felt cheated not hearing the whole work.
After interval, Grodd's approach to the Requiem was hugely dramatic, taking advantage of the city's biggest choir and an augmented Pipers Sinfonia.
There was a sense of mystery in the opening Requiem Aeternam while the Kyrie was a vigorous stride, its counterpoint beefed up by busy tromboning. The Dies Irae almost took on Verdi with its evocation of apocalyptic rumblings and tremblings.
One has become accustomed to disappointment with the Tuba mirum, and tonight its testing low register proved Lin is more baritone than bass. Lin was followed by Kenneth Cornish, making his last appearance with Auckland Choral after over three decades of being one of its finest tenors. Mezzo Sarah Court, singing with her customary clarity and precision, was succeeded by Risch's lush soprano.
Although Grodd can draw power from his choir, stressed soprano tone is a recurring worry. And, despite the rustic energy of the orchestral palette, the Piper strings were just as embarrassingly wan in the Recordare as they were seven years ago when Auckland Choral mounted the work at Holy Trinity Cathedral.
