A curious performance of Fauré presented by contrasting collaborators, Aurora Orchestra and BBC Singers
As one of Gabriel Fauré’s most representative works, his Requiem (Op. 48) offers a rather notable and divergent approach from the traditional requiem form. Softer and gentler, it is often celebrated for its cathartic and meditative qualities rather than an emphasis on judgment and dramatic finality.
Performed collaboratively by the BBC Singers and the Aurora Orchestra, who once amazed me with their brilliant theatrical production of Winterreise, this interpretation of Fauré’s classic brings an unexpected twist. For instance, under the dynamic baton of Nicholas Collon, whose unbridled, free-style manner has earned the Aurora Orchestra a name of daring, boundary-pushing performances, the orchestra is elevated to a level of prominence equal to that of the chorus, challenging our conventional expectation that the chamber orchestra should play second to the chorus.
This would certainly generate fresh chemistry with the BBC Singers, who are renowned for their the most refined techniques, such as their excellent control of pianissimo and their elegant, harmonious resonance, further amplified in a space with superb acoustic design like at the King’s Place. This blend of a safe-hand and a bolder, daring explorer leaves great room for more interesting, challenging interpretation, should they be given additional time to fully mesh and unify. In their current collaboration, however, it feels like Aurora Orchestra and BBC Singers are running on two paralleled tracks, to a great extent, downplaying the emotional and lyrical richness of Fauré.
In the first half before interval, the programme curates a curious selection of choral works that also reflect on themes of nature and the cycle of life. This includes early Baroque German composer Schütz’s “Selig sind die Toten,” Mahler’s “Ich bin der Welt abhanden gekommen” (from Rückert Lieder), and two contemporary pieces—Kim Porter’s “Your World” and Benjamin Britten’s Rejoice in the Lamb. While Schütz serves as a most proper opener for the chorus to hum, gradually building towards Mahler’s celestial and soothing mezzo-soprano, Porter’s and Britten’s pieces prove challenge to the singers to catch the tune. Once again, the collaboration of a technically accomplished choir and a dynamic, innovative conductor seems to entrench one another, rather than allowing each to fully realise their own strengths and hallmarks.