Ludwig van Beethoven: Christ on the Mount of Olives, Op. 85 - Christus am Ölberge (FULL ORATORIO)

Описание: UC Davis Symphony Orchestra
University Chorus
Christian Baldini, music director & conductor
Mondavi Center for the Performing Arts (California) - March 6, 2020

Jacqueline Piccolino, soprano (Seraph)
Kyle Stegall, tenor (Jesus)
Daniel Yoder, bass (Peter)
University Chorus (Angels, Disciples, Soldiers) - Caleb Lewis, director

Beethoven: "Christ on the Mount of Olives", op. 85
Even though the music of Ludwig van Beethoven forms the very basis of our repertoire, there are great many pieces in his œuvre that have fallen out of focus in the course of time. Some deservedly so, some to a puzzling effect.

The oratorio Christus am Ölberge, Op. 85 (Christ on the Mount of Olives, 1803/1804/1811), quite popular in its time, began to fall out of fashion as the 19th century proceeded. As years went by, it was eventually turned into a footnote to the great choral masterpieces of Beethoven’s late period, namely the Missa Solemnis (1819-23) and the Ninth Symphony (1822-24), as well as Leonore/Fidelio (1805-14).

Yet, Christus am Ölberge is a substantial work of its own right. Tremendously expressive, yet intimate, Beethoven’s score is a spellbinding portrayal of the Redeemer’s inner struggle, empowerment, and joyous triumph.

Scored for three soloists, chorus and orchestra, Christus am Ölberge is based on a libretto by Franz Xavier Huber. Beethoven set it to music during the early months of 1803, while residing at Theater an der Wien. The oratorio was premierd as a part of Beethoven’s academy concert on 5 April, alongside the Second Symphony (1801-03) and the Thrid Piano Concerto (1800), both heard for the first time as well.

Immensely popular in Vienna those days, the oratorios of Haydn and Handel were obviously well-know to Beethoven. Understandably reluctant to dwell in the shadows of his great predecessors, Beethoven adopted somewhat different approach for his take on the medium.

In relation to the Biblical accounts of the story, Huber took many liberties with his libretto. There are only three dramatis personae involved, Jesus, Seraph and Petrus. In addition, there are splendid choral numbers as well, featuring angelic hosts, menacing hordes of Jesus’ captors and the mighty fellowship of disciples.

An aptly brooding overture sets the hour-long oratorio in motion, with sinister brass calls, echoed by ominously rolling timpani. Joined by rapid string figures and lyrical woodwind passages, the stage is set for the Passion-tide drama.

In the opening scene, we encounter the Redeemer in agony, terrified by the events about to pass. The Seraph appears, alongside a Heavenly host, proclaiming divine empowerment.

Cast as a tenor, Jesus is portrayed, first and foremost, as a humane figure, going through a spiritual journey from frailty and doubt to triumphant redemption. It should be noted, that Beethoven was composing Eroica (1802-04) simultaneously with the oratorio. Both works originate from Beethoven’s personal Gethsemane, the deep crisis bought forth by his inevitable loss of hearing, as manifested in the Heiligenstadt Testament.

It has been speculated that Beethoven’s choice to have a tenor singing Jesus might have provided a model for Wagner’s Parsifal (1877-82). Be that as it may, Beethoven’s heldentenor Redeemer is an absolutely intriguing one.

Jesus’ solitude is interrupted by the arrival of the Seraph. Sung by a soprano, Christ’s guardian angel is portrayed with compelling vocal bravura. Here, Beethoven evokes the spirit of Mozart, to a riveting effect.

Joined by full chorus, the Seraph sets forth to reassure Christ with a marvellous vocal tableau. Followed by a sublime duet for Christ and Seraph, the scene closes with affirmation.

Beethoven sets Jesus’ arrest to music with vivid imagination. Sung by male voices, Jesus’ capturers are engaged in contrapuntal hide-and-seek, rooted in splendid dramaturgy.

The third soloist, Petrus appears in the final scene. Cast as a bass, Petrus is the personification of mankind, with all those burning humane emotions and motives.

The final terzetto is the dramatic culmination of the oratorio. Vengeance is turned into compassion, as Petrus’s anger is soothed by Jesus and the Seraph. Here lies the ultimate triumph of Christ. The oratorio closes with a gorgeous fugal finale for chorus and orchestra, worthy of Haydn.

Text by Jari Kallio
https://jarijuhanikallio.wordpress.co...

Ludwig van Beethoven / Лудвиг ван Бетховен / لودفيج فان بيتهوفن / লুটৱিস ফান বিটহ'ফন / Λούντβιχ βαν Μπετόβεν / لودویگ فان بتهوون / 루트비히 판 베토벤 / Լյուդվիգ վան Բեթհովեն / לודוויג ואן בטהובן / ルートヴィヒ・ヴァン・ベートーヴェン / ლუდვიგ ვან ბეთჰოვენი, 路德维希·范·贝多芬, / بيتهوفين, ,לודוויג ואן בטהובן / 루트비히 판 베토벤, Λούντβιχ βαν Μπετόβεν, লুডভিগ ফান বেটোফেন