Search - Orch. of Emmanuel Music, Lorraine Hunt Lieberson :: Lorraine at Emmanuel

Their Artistry Is Their Legacy

Thomas H. Moody | Nobleboro, ME United States | 08/11/2008

(5 out of 5 stars)

"As a Boston resident from 1985-1994, I attended numerous Emmanuel Music events ranging from the Sellars production of Handel's "Giulio Cesare" (brought to Boston by Sarah Caldwell & the Opera Company of Boston) to several of the weekly Bach Cantatas that they performed Sundays at the Emmanuel Church services, to a few of concerts in their Lieder series. I even returned to Boston once to specifically hear the ensemble's performance of Handel's "Solomon."



Emmanuel Music, under the directorship of its founder Craig Smith, never made much of a misstep in any of its performances. Undoubtedly the people who played and sang for Smith did so out of a love for the ensemble and a high respect, admiration of and love for him. The performances were outstanding because the performers were driven to perform for the experience and the musical involvement Smith provided them with, not for great sums of money. When Smith and the ensemble performed, there was always a sense that it was a "musical family" performing, a family who were all very comfortable in their environment.



Craig Smith was not a flashy showman kind of conductor (in fact he was quite the opposite) and one always suspected that he might be a bit eccentric in an endearing sort of way. However, what he was was a musician/conductor searching for truth in music and in character. And it's in that regard that he singularly stood out - not just in Boston, but also internationally. He always paid great attention to the finest of details in the music he conducted and he knew how to get refined, genuine and transcendent performances from those working with him. He was, in some regards, one of the musical world's best kept secrets.



I first heard Lorraine Hunt (later Lorraine Hunt Lieberson) in her phenomenal performance of Sesto in the Sellars' "Giulio Cesare" in Boston. I heard her on several other occasions as well, including a commanding performance of Cleopatra in Handel's oratorio "Alexander Balus" with Emmanuel Music under Smith's direction.



It could be argued that no one knew how to conduct Hunt Lieberson better than Smith. Likewise it could be said that Hunt Lieberson excelled in her singing for Smith, who had played such a crucial role in the rise of her vocal career, because they were musically on "the same page." She had evolved out of Smith's brand of musicality while individually searching for and finding command of her own voice and interpretative skills.



This recording is taken from the archives of Emmanuel Music (I wonder what else they have sitting around waiting for the world to hear) and is a tribute to both Smith and Hunt Lieberson. As expected from both of these artists, the performances here are more than "lovely", "pretty" or "splendid". What they are is music at its elemental truth - a representation of the finest of these two artists. These performances take the listener to the place in music where truth and art are whispered to them - not shouted. Here, both musicians understand that less is more when one knows how to strip away the gimmicks that music sometimes has thrust on it by conductors and/or performers.



The orchestra has a bit of a hollow sound to it, but the sound is quite true to what the performances at the Emmanuel Church sanctuary sounded like. Emmanuel's main sanctuary is quite large and Smith generally had a very small orchestra.If one likes recorded performances miked close, then the orchestral sound may be a bit of a disappointment. However, don't think that the "hollow" sound detracts any from the detail or articulation of the performances. Furthermore, these are live performances that were probably never intended to be internationally released. (But maybe any other recorded performances should be. The "Alexander Balus"?)



For those of us who heard Emmanuel Music so often, the recording is bittersweet. Somehow one thought Craig Smith and the ensemble would go on forever. It was simply expected. The same can be said for Hunt Lieberson. Who thought such a glorious voice would ever be silenced. But they both have passed on now. However Emmanuel Music still thrives - and I expect will continue to do so even though it may have to mourn for awhile. But I have no doubt that they will prosper because of Smith's dedication and love of them and because of their dedication and love of him.



If you have ever wondered what all the fuss was about regarding Emmanuel Music, Lorraine Hunt Lieberson or Craig Smith, this recording should stop that wondering. One rarely hears such refined and soulful performances. The Bach is sublime and Dejanira's arias from "Hercules" are, to this listener, without peer in their execution, depth, and character. The "Mad Scene" is stunning! This release will likely make many "best of " lists for 2008.



Although I never met or knew any of the members of Emmanuel Music, I will forever remember and treasure their gifts to me."

Almost perfect

D. Uhl | 09/05/2008

(5 out of 5 stars)

"In the August 2008 BBC Music Magazine, George Hall gave this disc four out of five stars. He didn't like some of Lorraine's fast passage work and found that conductor Craig Smith lacked impetus. Hmm. Not me. These are magically relaxed performances where soloist and chamber orchestra are almost literally singing to and with each other. There's something special going on here. And Lorraine Hunt Lieberson sounds completely in control of what she's doing. I don't think you'll be disappointed. If only there had been more."

Tremulous Stones

Tony Consiglio | New York, NY | 11/14/2008

(5 out of 5 stars)

"In the best parts of these performances - those mentioned by Tom Lawrence, but I would definitely add to his list "Where shall I fly" - Lorraine's flame burns fully as intensely and penetratingly as on her great Handel recording with Harry Bicket.



(In case anyone still doesn't know, Lorraine's two recordings with William Christie are at that level, too.)



Hard to find words for Lorraine. No wonder she made her husband think of Rilke:



Words still softly give way before the unsayable . . .

And music, forever new, out of the most tremulous stones

builds in unusable space her house fit for gods."