May Festival Weekend II

The Festival continued Friday night with a unique experiment that paid off. At least 2,500 folks were not at Taste of Cincinnati -- they were listening to Berlioz' "L'enfance du Christ." If you were there, what did you think of the projections?

Here's the review:

"The time is ripe to do something experimental," said conductor James Conlon, as he introduced the May Festival’s first-ever multimedia performance Friday night in Music Hall.

A large screen hung over the May Festival Chorus, the house lights dimmed and the chorus, Cincinnati Symphony Orchestra and four soloists began Berlioz's extraordinary oratorio, "L'enfance du Christ" (The childhood of Christ), its first performance at the festival.

I doubt that anyone in the audience of 2,500 was prepared for what a breathtaking experience it would be.

Berlioz called his oratorio a sacred trilogy. Its three parts depict Herod's dream and his decree that all children under 2 be killed; the holy family’s flight into Egypt; and how they found refuge with an Ishmaelite carpenter.

Musically, it was a stunning journey. But it was further enhanced by the pictorial accompaniment – paintings assembled by Cincinnati Art Museum, projected overhead – that worked seamlessly to underscore the story and illuminate the music.

Berlioz is most known for his extroverted showpiece "Symphonie fantastique." His oratorio, by contrast, is deeply spiritual, meditative and even mystical. The orchestral canvas was wonderfully evocative, and the orchestra performed it beautifully. (One of the highlights was a charming pastorale for flutes and harp.) Conlon led with a combination of lightness and depth, and brought out the delicate and inventive detail of this score.

If there was a single most sublime moment, it was the famous "Shepherds' Farewell," sung by the May Festival Chorus with a hushed, radiant quality. The chorus, prepared by Robert Porco, articulated the French text confidently and added dramatic touches as Soothsayers and Ishmaelites. The Chorus of Angels, sung by women of the chorus offstage, had pristine beauty.

The story unfolded through four excellent soloists. Bass-baritone David Pittsinger projected the anguish and reluctance of King Herod in his air, "O misere des rois!"
Mezzo-soprano Michele Losier made a youthful Mary, conveying fear and purity. Her duet with baritone William McGraw (Joseph) was a glowing pastoral scene, as they looked upon the Christ child with images projected above.

As narrator, tenor John Aler seems born to sing this music. His gentle delivery and communicative gifts were ideal for the serene setting. The final chorus, sung a cappella in shades of softness with the tenor, made an exquisite conclusion.

The May Festival concludes today in Music Hall. 513-381-3300.