Rachel M. Schlesinger Concert Hall & Arts Center (Alexandria, VA)
Franz Liszt's rarely-performed oratorio Christus comes to the stage in a concert by the New Dominion Chorale and Orchestra. Acclaimed by critics when it debuted in the early 20th century, the lengthy Christus has been smartly edited by the Chorale's artistic director Thomas Beveridge for this performance that includes a 200-voice chorus, 50-piece orchestra and three soloists.
Event summary prepared by the Goldstar Editorial Team.
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The last date listed for Scenes from Christus was Sunday May 17, 2009 / 4:00pm. (view all dates)
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Just as an audience is captivated by the merging of unusual notes and off-beat percussion, visitors to the Alexandria campus of Northern Virginia Community College will be mesmerized by the Rachel M. Schlesinger Concert Hall and Arts Center. The facility took center stage in Northern Virginia in September, 2001 with the opening of its breathtaking 1,000 seat Mary Collier Baker Theater, the
Website: http://www.newdominion.org/notes_christus.php
<p>New Dominion Chorale & Orchestra
Thomas Beveridge, Artistic Director
Jennifer Jellings, soprano
Laura Zuiderveen, alto
Richard Novak, tenor
Timothy Lefebvre, baritone</p>
<p>Program:
Vaughn-Williams, Five Mystical Songs
Liszt, Scenes from Christus</p>
<p>The New Dominion Chorale and Orchestra will perform scenes from Franz Liszt’s rarely-performed Christus at the Rachel M. Schlesinger Concert Hall and Arts Center on the Alexandria campus of Northern Virginia Community College. </p>
<p>The concert will be conducted by the Chorale’s founder and artistic director, Thomas Beveridge, who has prepared a special edition of Liszt’s lush, melodic work featuring the 200-voice chorus, 50-piece orchestra and three outstanding soloists: Jennifer Jellings, soprano; Laura Zuiderveen, alto; and Richard Novak, tenor. The concert will also include Five Mystical Songs by Ralph Vaughan Williams, featuring baritone Timothy LeFebvre.</p>
<p>Thomas Beveridge is recognized as one of the Washington area’s most versatile musicians. He has had a distinguished career as a concert singer, and his 600 original compositions have earned him the title of “Dean of Washington composers” in Washingtonian Magazine. Most recently, he was named the 2008 winner of a WAMMIE in the category of classical composer by the Washington Area Music Awards, the nonprofit organization of music industry professionals that recognizes significant career achievements by area musicians.</p>
<p>Explaining why New Dominion is presenting Christus, which is rarely performed in the U.S., Mr. Beveridge said that part of the Chorale’s mission is to present lesser-known masterpieces as well as choral favorites. Moreover, he fell in love with the piece when he first heard it performed in Zurich several years ago. “It’s an incredible piece of music and it deserved broader exposure,” he said.</p>
<p>The first part of the twentieth century saw many uncut performances of Christus and it was acclaimed by many critics, including Arnold Schoenberg, who declared in 1911 that Liszt’s oratorio had yet to achieve its full impact. Yet since World War I, there have been few performances. Part of the problem is its length. The full oratorio runs more than three hours. Mr. Beveridge has trimmed it, keeping those sections that display Liszt’s masterful handling of chorus and orchestra and, in the Stabat Mater Dolorosa, the addition of four solo voices. “I tried to tell the story in a more accessible way,” he said.</p>
The New Dominion Chorale, soon to celebrate its twentieth season, is one of the gems of Washington's brilliant choral scene. Led by Artistic Director Thomas Beveridge, the 225-voice chorale performs the great works of the choral canon but is also devoted to bringing lesser-heard masterpieces to audiences, all while keeping ticket prices low. Given the stature of the chorale, many people are surprised to learn of its no-audition policy; anyone can sing with the chorus. Even so, critics have praised the ensemble for its vocal balance and the polish of its performances. One Washington Post critic used words like "opulent, precise, and powerful," to describe its sound.