Generally, this was a splendid performance of an immensely difficult work. The orchestral elements are frequently an amalgam of disparate sounds and textures that do not depend on thematic or harmonic development, and strict direction is required to keep the event together. Expressionistic music of this kind requires concentrated effort by every performer. The work itself is metamorphosing, for example new elements were added in this performance and the sequence was quite different from the CD version (ECM New Series 1688 465 338-2). The soloists were superb—David Moss’ vocal range is prodigious, from baritone to countertenor. Goebbels’ writing would be unrealisable without such a performer. Smith and Moss are not merely singers. Some of the texts Moss delivered were babble, a meaningless abstraction of the sound rather than the content of conversation, recalling the work of Berio, and requiring consummate skill to bring off. Smith’s performance was superb; both are vital to the success of the work. On stage, their presence is dramatic, operatic in its intensity.
Heiner Goebbels has created an extraordinary synthesis out of a disparate array of musical forms and instrumentation. Surrogate Cities is a masterpiece and a fitting opening to the Queensland Biennial Festival of Music.
Heiner Goebbels, Surrogate Cities, The Queensland Orchestra, conductor Andrea Molino, Concert Hall, QPAC, July 18
RealTime issue #58 Dec-Jan 2003 pg. 42
© Chris Reid; for permission to reproduce apply to [email protected]