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:: Concert Reviews:: Bach Society Takes Audience Back Over 300 Years, by Caitlin Ahern,
The Barnard Bulletin We were all huddled around a pool of light in Roone Arledge Auditorium the night of Friday, April 2. Without much ado, a group of 10 instrumentalists began the overture to Dido and Aeneas, followed by the ringing of beautiful voices. It couldn't have been more than a few minutes into the performance when I had to flip to the back of the program. Where did these singers come from? I asked myself. Certainly there can't be that much talent in one school. Techniaclly, I was correct; the singers and musicians come from five schools at Columbia, as well as Mannes College of Music. But they are all standing members of the Columbia University Bach Society, and their performance of Purcell's Dido and Aeneas was a testament to the University's vast array of talents.
The Bach Society had the difficult task of performing one of the earliest remaining operas for an audience of college students and their parents 315 years after its creation. By keeping the set simple--as it probably was at the premiere in 1689--and having the singers wear contemporary
clothing, the Bach Society proved that preserving music from the past is far from impossible.
Malena Dayen, who graduates from Mannes this year, sang Dido with a strong, sonorous voice. Dayen convincingly portrayed her character's festering grief to her listeners, and her final aria was positively chilling. Initially, it was hard to take her lover seriously in his loose-fitting street clothes and messy hair, but as soon as he opened his mouth, Aeneas (Drew Watson, CC '06) assuaged my doubts through his bold entrance and full sound. In addition, he pulled the audience into his performance with expressive gestures. The other soloists were equally
talented, especially Valentina Fleer (Belinda), BC '05, and Alicia Wagner (Second Woman), SEAS '04. Aditi Chakravarty, BC '07, played the Sorceress and revealed a deep voice of a different quality than the others but sometimes was too quiet to match her counterparts.
The chorus was adept at finding the appropriate dynamic level; they supported the soloists without overpowering them, and their voices blended seamlessly with one another. In their ending passage, they crept in quietly but not weakly, and the release of the last note was perfectly in unison, leaving a haunting quality hanging in the air.
Despite the Bach Society's vocal talents, it was without question that the orchestra held the performance together. With such a small ensemble, it can be difficult to blend the instruments effectively, and mistakes are significantly more audible. The orchestra anticipated these dangers and managed to avoid them throughout the opera. They were energetic yet controlled and took advantage of their small size to communicate effectively with one another.
The charm of Dido and Aeneas is its simplicity; as opposed to the newer operas boasting extensive percussion sections and extravagant sets, Purcell's opera focuses on the main themes presented subtly through its arias and choruses. The Bach Society remained sensitive to this idea throughout the performance. The result was an evening that gave audiences a peek at the past while keeping them grounded in the present. That night, the Bach Society did its part in passing along the operatic tradition. Harvard and Columbia: Together in Harmony, by Caitlin Ahern,
The Barnard Bulletin "They may be rivals on the football field, but Harvard and Columiba students proved Jan. 31 that, sometimes, they can actually work together. "The Bach Societies of Harvard and Columbia Universities merged for a concert at St. Paul's Chapel. Despite having had only two joint rehearsals, these musicians put on a performance that would have fooled any audience member into thinking that they had been playing together for years. ...the orchestra blended well underneath the soloists, and the interaction between the soloists was remarkably adept. Their dynamic control was perfectly balanced; neither trumpeter was louder than the other, and they maintained this balance throughout the entire piece. ...Finally, the group delved into the classical period, playing the "Haffner" Symphony Number 35 in D Major by Mozart. With a change of conductor (Harvard's Alexander Misono took the place of Columbia's David Rosenmeyer) and the addition of a few more instrumentalists, the orchestra had a more powerful presence. The symphony was confident and energetic from beginning to end, showcasing the hard work that each group had done for the last few days. The orchestra achieved a deeply robust sound and paid close attention to the attack and release of each note." Germany Tour Reviews From Leipziger Volkszeitung / Muldentalzeitung, June 1, 2001: “Ensemble from abroad presented a monumental spectacle.” “Full house for the Bach Society in Panitzsch. The audience crowded the hall to experience a first class cultural treat.” “Powerful, quick-bowed strings.” “The applause would not end. The artists were celebrated with a standing ovation.” From Kleine Volkszeitung Leipzig, June 5,/2001 “Guests from abroad presented magnificent concert in Panitzsch.” “The audience was fascinated by the musicality of the young Americans.” “The Bach Society CU gave a sparkling performance.”
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