The Cathedral Church of St. John the Divine, New York, December 31, 2011
The Cathedral of St. John the Divine’s annual New Year’s Eve Concert for Peace took a pensive turn this year in presenting Michael Tippett’s A Child of Our Time oratorio for soloists, chorus, and orchestra. The evening’s broad theme was the observance of turning points: the success of various citizens’ movements throughout the globe, but also drawing attention to the still desperate living conditions experienced by so many. After preparatory speeches, poetry readings, a heartfelt rendition of Joni Mitchell’s “Both Sides Now” by Judy Collins, conductor George Mathew led the Ubuntu-Shruti in a suitably dark and stirring rendition of the Tippett work. Inspired by the events surrounding the 1938 Nazi Kirstallnacht, A Child of Our Time addresses political violence and oppression, and well as hope and healing. The piece is notable for its clever incorporation of six African-American spirituals (which function as emotional “sanctuaries”) into a Bach-style oratorio form.
As intended by the presenters, the juxtaposition of current events gave the 1938 texts a certain relevance, even if the stern and occasionally morose music sounded confined to its era. The spirituals retained their “timeless” quality despite the heavy-weather treatment of Tippett’s arrangements, and made for welcome moments of lightness and light amidst the overall gloom.
More than anything, it was the performers’ earnestness that registered the music’s emotional impact. Of the fours soloists, soprano Indra Thomas sounded the most familiar with the spirituals idiom, offering the same kind of sweetly spun, high solo singing heard in black churches. Mezzo Rachel Calloway, tenor Noah Stewart and bass Soloman Howard each provided solid and evocative singing.
The Dessoff Symphonic Choir was equally committed, even if its intonation sounded less than sure, but this impression was likely due to the acoustical environment. The Cathedral’s vast space created canyon-like echoes that bent pitches by the time they reached the ear, and no doubt created difficulties for the chorus members to hear each other (the soloists had the advantage of microphones to mitigate this problem). The orchestra played handsomely under Mathew, offering an emphatic realization of Tippett’s score. The work had the desired effect, and the audience responded with prolonged, appreciative applause.
Victor Carr Jr
