Symphony Chorus excels
with triumphant Requiem

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By Ruth O. Bingham
Special to the Star-Bulletin

Excitement ran high on both sides of the podium Saturday night at a special events concert featuring the Honolulu Symphony Chorus performing Duruflé's Requiem.

The usual symphony crowd was laced with families coming to hear their loved ones sing in the chorus: "See him? That's my dad ..." "Look in the second row, third one down ..." "She's right there, between ..."

The excitement running through the members of the chorus was equally apparent, from their erect stance to their focused singing. In fact, it was their singing that transmitted their excitement to the rest of the audience, which responded with shouting and cheering amid enthusiastic applause.

It was a triumphant performance for the Honolulu Symphony Chorus and its new director, Karen Kennedy, of the University of Hawaii.

The chorus has even better intonation, a more blended sound and a more focused tone than in September. Competing vibratos have come under control, and voices are both full and relaxed. A perfectly balanced fortissimo climax in "Domine" rose from the depths to shake rafters without a hint of the harshness that comes from voices pushed to the edge.

Throughout, the men were robust, the sopranos sweet, the altos warm, and the clarity of their ensemble made the text easy to follow. In short, the chorus sounded better than it ever has. After the concert, the chorus gave Kennedy a standing ovation, one well deserved.

Duruflé's Requiem is not a fearful facing of death and final judgment, but a gentle, comforting farewell, with undulating waves of chant melodies floating, overlapping and echoing above luxurious sonorities.

That peaceful beauty was enriched by both soloists: Quinn Kelsey's rich baritone lent somber warmth to souls passing from life, and mezzo-soprano Milagro Vargas sang her lullaby into death soothingly, her voice forward and clear but with the full body of red wine.

The symphony provided strong support throughout, in spirit as well as musically. Especially notable were clarinetist Jim Moffitt, for numerous solos, and organist Joe Pettit, who was not listed in the program but who skillfully supplied the work's musical mortar.

Each movement became a new high point, for which Kennedy, the chorus, the symphony, Kelsey and Vargas deserve their own "Hosanna!"

Originally, the Duruflé was to be paired with Haydn's C Major Mass. Over the summer, the Haydn was replaced with two light works, Beethoven's "Prometheus" Overture and Mozart's "Haffner" Symphony, No. 35 in D Major, for which guest conductor Joann Falletta donated her services.

Falletta's conducting was freer and more expansive than at Friday night's concert, perhaps because the pieces were more familiar to the orchestra. She offered thoughtful yet affective readings, drawing out inner lines and providing a clear sense of structure. Although the larger-than-usual orchestra for Mozart provided unnecessary thickness, Falletta nonetheless allowed Mozart's vivid musical characterizations to come alive.

All in all, it was a very satisfying evening.

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