Nastinos

Greetings from Singapore, the Lion City. I arrived here during the final week of the Singapore International Arts Festival, and thought it only couth to sample some of its musical offerings as I am here. The headliners for the final week are Russian classicalists, viola-virtuoso Yuri Bashmet, leading the Chamber Orchestra Moscow Soloists, accopanied by the Moscow State Chamber Choir. Now, I know classical music isn’t the usual remit for this blog, however, I thought it would be an opportunity missed to go along and not attempt to review this act, so here goes…

First, to set the scene.  The performance was held in the iconic Esplanade. It really is a spectacular piece of architecture. Inside, the main concert hall resembles a cross between an upturned Noah’s arc, and a wooden cathedral, and the acoustics are excellent, I’d say better than the Albert Hall’s from past experience. During the interval I wandered out to the bar to grab a swift beer, which enjoys fantastic views overlooking the marina which is really quite stunning lit up at night.

I really enjoyed most of the programme. It opened with Stravinsky’s Concerto in D for strings, which sounds very contemporary despite it being over 60 years old. The first movement, Vivace, really stood out, a frantic, bustling piece, which conjured up images of a busy metropolis such as Singapore, and with a fantastic recurring discordant motif which feels like it’s always teetering on the brink of crashing, but remains beautifully balanced throughout.

Next up was Brahms’ Adagio in B minor for viola and strings. Here Bashmet takes centre stage, and his performance is mesmerising, incessant, and emotive. The dynamism of his viola and the intricate interplay between the cello and viola sections provides the perfect counterpoint. After that was Three Film Scores for Strings by Japanese composer Toru Takemitsu. Here the highlight was the first piece, Music of Training and Rest from the film Jose Torres,which possessed a great jazz rhythm reminiscent of Gershwin and Bernstein. The manner in which the cellists were transformed into the role of jazz-blues bassists with the violas replicating sharp off-beat jazz piano notes conveyed a really impressive and innovative arrangement.

After the interval was Mozart’s Exsultate, jubilatewith the first choral appearance of the night in the form of a female soprano. To be honest, I found this piece a bit tedious. It was fairly standard Mozart, and the music remained shackled by the piece’s emphasis on the singer. I kept flashing back to visions of Simon Cowell-derived television ‘talent’ contests, and the annoying warbling stylings of current wannabe pop singers, as to be honest, what the soprano was doing was basically the same thing but a little bit more elaborate, in Latin, and in a higher key. It was essentially just warbling though of a different kind, but because it is masked behind the respectable face of classical music it is therefore obscured from similar public criticisms. I thought it only fair to redress the balance.

The programme finished with Mass No.2 in G Major for mixed chorus and stringsby Schubert, and saw the full Moscow State Chamber Choir take to the stage. The night ended on a high, and the third movement struck a particular chord with me, with it’s minimal but strident string tones, and deep, ominous choral chanting, it had something of a Soviet vibe to it. It reminded me a little of (and this is where I lose any credibility as a serious classical reviewer, if I hadn’t already done so by use of the word ‘vibe’ in the last sentence)… the film score to The Hunt to Red October.

And on that bombshell, I think I’ll go back to my day job.