It is now well over 30 years ago that the Trondheim Soloists came as a refreshing breath of fresh air into Norwegian music life. In all these years, the chamber orchestra has functioned as a center of power for young string players in the Trondheim area. At the same time, the Trondheim soloists have distinguished themselves internationally, with collaborations and recordings with classical stars such as violinist Anne Sofie Mutter and cellist Alisa Weilerstein. Less than a month ago, the orchestra acted as a backing band for Björk herself, with concerts in Trondheim and Bergen. Something completely different was on the program during the Trondheim Soloists’ two concerts during the Oslo Chamber Music Festival this week. Here, the people of Trønder served up a selection of works by Wolfgang Amadeus Mozart, with various collaborators, ranging from the intimate to the grandiose. The concerts showed an orchestra which, under its artistic director Geir Inge Lotsberg, has developed an astonishingly good grasp of Mozart’s music. No superficial beauty there in the yard – here the audience got a Mozart that really set body and mind in motion. LIVELY: Håvard Gimse impresses in Mozart. Photo: David Dawson / OCMF Magic in the Aula The first concert took place on Friday evening in the University’s aula. Here, the Trondheim soloists played the first three piano concertos Mozart composed in Vienna, in addition to a chamber orchestra version of Mozart’s String Quintet in C minor KV 406. The soloist in all three concerts was pianist Håvard Gimse, who this year resigns as head of the Oslo Chamber Music Festival’s artistic council. Gimse’s playing style in Mozart is characterized by a kind of unhurried continuity. It gives the music a distinctive form of life and progress. Gimse is superbly flanked by Geir Inge Lotsberg, who does a fabulous job as playing conductor for the Trondheim soloists. He makes the people of Trondheim play with something that I at least experience as real Viennese schwung. The orchestra stands out with a rich and warm string sound and shows a special care for rhythmic details within the framework of a slightly laid-back tempo. The piano concerto in A major KV 414 in particular appeared completely magical in the Aulaen’s generous acoustics, with Munch’s pictures as a literally brilliant backdrop. Double Requiem in the Cathedral The very next evening, the Trondheim soloists were back in action, this time as part of a much larger ensemble in Oslo Cathedral. The Trønders were here supplemented by four singing soloists, the Oslo Cathedral Choir and wind players from the Royal Norwegian Marines Music Corps, all conducted by cathedral cantor Viviane Sydnes. STORSLAGENT: Cathedral cantor Viviane Sydnes conducted a complex ensemble in Oslo Cathedral. Photo: Lars Opstad The program included Mozart’s famous Requiem in D minor from the year of the composer’s death in 1791. First, however, the audience got to experience another Requiem, composed by Mozart’s composer colleague Michael Haydn, who was 19 years older. In her concert introduction, mezzo-soprano Marianne Beate Kielland suggested that Mozart may have used Haydn’s 20-year-old work as a model when composing his own. This is not unlikely. Mozart and Haydn were colleagues in Salzburg, and 16-year-old Wolfgang took part in the performance of Haydn’s Requiem in 1771. Parts of the works are strikingly similar, although Haydn’s is simpler in style and lacks the grand Handel-inspired choral movements found in Mozart. This notwithstanding: Michael Haydn’s Requiem is undoubtedly a great work, with many beautiful parts. In particular, “Lux aeterna” with rising melodic movements in the solo soprano must have made an impression on the young Mozart. Rarely magnificent Mozart Nevertheless, there is no doubt that the truly great experience comes after the break, when Mozart’s famous Requiem is finally allowed to fade out in the church room. This performance of this mythical work simply belongs to the rarer of its kind. The four singing soloists, led by soprano Ann-Helen Moen, deliver brilliant vocal performances. Oslo Domkor, to be honest, I have never heard better. Marinen contributes with a great and powerful sound from woodwinds and brass. BRILLIANT: Tenor Magnus Staveland and soprano Ann-Helen Moen in Oslo Cathedral. Photo: Lars Opstad VOCAL WELCOME: Mezzo-soprano Marianne Beate Kielland and baritone Christian Immler. Photo: Lars Opstad DRIVING PLAY: Violinist Geir Inge Lotsberg at the head of the Trondheim Soloists. Photo: Lars Opstad BEAUTIFUL: Cantor Viviane Sydnes conducts in Oslo Cathedral. Photo: Lars Opstad Conductor Viviane Sydnes has impressive control over the large musical apparatus. She provides drive and precision from start to finish, in an interpretation that steers clear of the heavy and monumental. The Trondheim soloists therefore sit in the middle of all the splendor of sound and contribute with rhythmic drive and momentum. Playing this way requires one to really be on the inside of the Viennese classical style. The Trondheim soloists’ work with Mozart has already resulted in a record release, which probably went under the radar for many when it came out last year. It will be exciting to see what they come up with next. Judging from this weekend’s two concerts, there is definitely something to look forward to. news reviews Who: Trondheim soloists, Geir Inge Lotsberg (violin and musical direction), Håvard Gimse (piano), Oslo Domkor, wind players from the Royal Norwegian Marines Music Corps, Ann-Helen Moen (soprano), Marianne Beate Kielland (mezzo-soprano), Magnus Staveland ( tenor), Christian Immler (baritone) and Viviane Sydnes (conductor) What: Works by Wolfgang Amadeus Mozart and Michael Haydn Place: Oslo Chamber Music Festival, University Hall and Oslo Cathedral Date: 19 and 20 August 2022
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Trondheim soloists and others during the Oslo Chamber Music Festival – Reviews and recommendations
