Jordi Savall’s passion for Haydn, as he notes, dates back to the 1960s when he was a student at the Barcelona Conservatory. His latest release with Le Concert des Nations therefore fittingly presents the composer’s epic masterpiece, Die Schöpfung (“The Creation”). The tripartite oratorio devotes the first two sections to the 6 days of creation and the final one to Adam and Eve’s time of paradise in the Garden of Eden. As my colleague Leighton Jones noted in his review of a performance by Giovanni Antonini and Il Giardino Armonico last year, both German and English versions of the work exist. Like Antonini, Savall opts for the original German and makes use of period instruments.
Savall and orchestra waste no time in establishing the dramatic narrative: the Praeludium balances pathos with a grandeur almost on par with what Paul McCreesh and the Gabrieli Consort (2008) deliver. The persuasive opening chords and intermittent horn blasts have an honest conviction that complements the dignified expansiveness. Im Anfange schuf (Disc 1, track 2), sung by baritone Matthias Winckhler, offers a vivid contrast from the prior selection–but even in its gentleness there is a profundity that makes us listen just a little closer.
The chorus (La Capella Reial de Catalunya) enters in Un Der Geist; there is good clarity in the layers of voices and a delicate transparency that one does not hear often. Savall also demonstrates his sensibilities, bringing the orchestra into a more collaborative role that pales neither in expressiveness nor musicality. One of the most pivotal moments, of course, both in the story and the music is the arrival of the light (0:49): excellent vocal control from the chorus just seconds earlier allows the C major the entrance it deserves. The orchestra doesn’t hold back here either, but a little more oomph from the timpanis might make the moment ever more thunderous. Tenor Tilman Lichdi’s buoyant entrance as Uriel fits right in, but given the significance of the moment, needs more weight and pointedness. Michael Schade gives a slightly more convincing account in the live 2003 Harnoncourt performance.
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- Haydn – The Creation – Antonini
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The final day of creation (Disc 2, track 1) opens with Winckhler in a very different character from when we first heard him: his bold approach is also marked by pleasingly clear diction. It could, however, do with little more assertion and a brisker pace akin to Gerald Finley’s recitative in the Gardiner recording (DG, 1996). The orchestral entrance shortly thereafter is rousing and not overly tempered by a merely polished sound. I really liked the raw energy that comes through with the sounds of bows hitting and scraping against the strings.
Soprano Yeree Suh takes on dual roles as both Gabriel and Eve. Her solo moments as the archangel are indeed beautifully sung with silky tones, but her presence somehow doesn’t quite stand up to the orchestra’s robustness. She fares better in the context of the soloists and chorus, however, as in the exhilarating Die Himmel erzählen (Disc 1, track 15), where we do hear her voice soar a little more. Her Eve later on is tasteful and elegant: although there are moments such as in Von deiner Güt (Disc 3, track 9) when she’s a little overpowered by Winckhler (now as Adam), her mellifluous timbre comes through in lovely fashion. The duet also features good communication and synchronicity especially in the intervallic passages (0:47-0:54).
Recorded at the Castell de Cardona, the album has sound engineering that elevates the chorus to something much larger than its 20-some members, which is effective given its important role through the work. A little more attention, however, could have been paid in balancing out the soloists, especially in the Part III duets. As for notes, Savall himself offers a sincere forward that describes his rapport with Haydn’s music. It also contains insightful descriptions, including an account of the March 1808 performance of Die Schöpfung and Haydn’s tearful acknowledgement of faith in its conception. A similar element, I feel, exists in Savall’s heartfelt presentation. Despite some minor issues, he certainly does the piece and composer justice. A recommended listen.
Haydn – Die Schöpfung (The Creation)
Yeree Suh – Soprano
Tilman Lichdi – Tenor
Matthias Winckhler – Baritone
La Capella Reial de Catalunya
Le Concert des Nations
Jordi Savall – Conductor
Alia Vox, CD AVSA9945
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