Concentrated death. That’s how Janácek described organised religion. And he wanted nothing to do with it. In his Glagolitic Mass he turned to the primitive exotica of pre-Cyrillic Russian language — in which he celebrated, albeit within a Christian text, the life force at its most pantheistic.
Think of the glorious fanfares of his Sinfonietta; think of the climactic spring of The Cunning Little Vixen. The exuberance of these works came to mind as the City of Birmingham Symphony Orchestra and its spendidly full-throated Chorus attacked the Mass, each voice change-ringing its way through its paean of praise.
Edward Gardner, principal guest conductor of the CBSO, conducted with severe clarity and compacted energy. I’ve heard more savage performances, more liberated and wild in their primitivism. But Symphony Hall’s acoustic certainly spread the sound, with high trumpets piercing the Credo and Thomas Trotter blasting away at the organ.
John Daszak, the tenor soloist, incarnated the score’s raw energy. And Luba Orgonasova was perfectly cast for this music’s unique palette, with her bright-eyed soprano pealing out in the Gloria and sanctifying the Sanctus. Clive Bayley’s bass reached from the abyss to eternity and Sarah Connolly’s mezzo finally sounded out her glad Hosanna.
Connolly had been busier earlier. As the workout for Janácek, Gardner had imaginatively programmed an all-Berlioz first half, tearing into Le Carnaval romain before the welcoming applause had died down and positioning pairs of horns high round the hall for the Royal Hunt and Storm from Les Troyens.
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Connolly approached Berlioz’s remarkable solo cantata, Le mort de Cléopâtre, with classical poise. There was hushed withdrawal, lacerating terror and gasping resignation in her performance, with Gardner drawing shuddering tremors and heavy, pulsing last breaths from his keenly sympathetic players.