Concert Review: TSO speaks a little too softly with Brahms’s A German Requiem

Arthur Kaptainis, National Post Softness reigned at the start, of course, as the violas and cellos traced their lines with the audio equivalent of a dotted line and the Toronto Mendelssohn Choir whispered “Selig sind” with the utmost intimacy. There were sturdy fugues and stirring outbursts to come, but the 145 choristers as prepared by Noel Edison made their effect more with quiet expression than with force. Read the complete review online
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Categories: 2012-2013 Season and Media Reviews.

TSO, Mendelssohn choir and soloists give Brahms his due

Robert Harris, The Globe and Mail And fittingly, Toronto’s Mendelssohn Choir, fresh off a performance of the Missa Solemnis just a week ago, provided the backbone of the TSO performance of the German Requiem. The chorus is part of the Requiem for almost its entire 70-minute length, and with the preparation of Noel Edison and under the direction of Peter Oundjian, the choir was outstanding – flexible, subtle, powerful, overwhelming. It portrayed the complete emotional range that Brahms lavished on this work, from Lutheran chant to tortured fugue, to lyrical hymn, to joyous celebration. Read the full review online
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Categories: 2012-2013 Season and Media Reviews.

Toronto Symphony Orchestra fails to transcend minutiae in Brahms German Requiem

The Toronto Mendelssohn Choir, out in full force, sang with its characteristic mix of subtlety, power and precision. The Toronto Symphony players (with woodwinds and brass on risers, all bizarrely crammed into one corner of the stage with the piano, organ console and harp) were in great form.
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Categories: 2012-2013 Season and Media Reviews.

A Night of Brahms Program Notes

This all-Brahms programme deals with the theme of fate or destiny, a theme that fascinated Brahms through most of his career, ranging from desolation and isolation to resignation and acceptance. The German Requiem is the most consoling and optimistic. The Alto Rhapsody portrays a disgruntled social outcast, but resolves into a sublime prayer. In Nänie (Song of Lamentation), the gods calmly lament the passing of life and beauty. But in Gesang der Parzen (Song of the Fates), there is no way out – no resolution, no prayer – probably the most desolate piece Brahms ever composed.
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Categories: 2011-2012 Season and Program Notes.

A Night of Brahms – 2011

A Night of Brahms podcast: enjoy musical excerpts and learn more about the concert and Brahms' music in this chat between artistic director Noel Edison, associate conductor Matthew Otto and music broadcaster Rick Phillips.
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Categories: 2011-2012 Season and Podcasts.