Amal Choucri Catta has one more reunion Cairo Symphony Orchestra, chief conductor Andreas Spörri, "Carmina Burana" with vocal soloists and A Cappella Choir, Cairo Opera House Main Hall, 22 September, 9.30 pm "Carmina Burana" is no newcomer to the Cairo Symphony Orchestra nor to local audiences. It was even performed as a ballet, choreographed by Abdel-Moneim and Erminia Kamel: a version particularly valued for its solemn serenity. This time, it seems, Carmina's Pianissimi were more soulful, while the Fortissimi were as powerful as can be. That night at the Opera's Main Hall, Cairo's symphonists opened the season's concert with Carl Orff's famous composition, under the baton of our newly appointed chief conductor, Andreas Sporri. The marvellous scenic Cantata for choir, soloists and orchestra will always attract large crowds. Like Beethoven's "Ninth" or Verdi's "Requiem", it is one of those rare orchestral and vocal pieces that will never cease to fascinate. This time, Maestro Sporri gave us an impressive show of his own rhythmic conception: his pace is dynamic and he seems to dislike loitering vocalists or slow instrumentalists. He is nevertheless guided by a sincere feeling for the music itself and an esoteric sense of the entire work. He goes far beyond the score, trying to penetrate the hidden meaning of each mysterious phrase. It was in 1803 when the monastery of Benedictbeuren in Bavaria, Germany, was being renovated that the illuminated manuscript of 280 poems and songs dating back to 1250 was discovered in the monastery library. In 1847 the Bavarian philosopher Johann Andreas Schweller published these texts under the title "Carmina Burana" or "Songs of Beuren". The authors of the poems included churchmen, students, minstrels, goliards, vagabonds, jugglers and all kinds of secular amateurs of dubious morals. They wrote in Latin, in Mediaeval German, in old French or in contemporary Bavarian dialects. When Carl Orff came across these poems, he chose the thoroughly secular ones: "Carmina Burana - Cantiones Profundi", one of the most popular masterpieces of the 20th century, is of simple if colourful orchestration, with rhythmic Ostinato figures repeated over static harmonies and a number of effects highlighting the text's accents. The work opens and closes on the same solemn chorus: its massive pounding depicting the inexorable turning of Fortuna's wheel. The 25 movements are arranged into three large sections: Primo Vere - Spring, evokes the awakening of the earth after the cold of a snowy winter. It starts quietly, quickening gradually until the blazing end. In this part the different tunes sing the renewal of "Natura Iussi Cypridis" - by order of Venus. The second part, "In the tavern" evokes a different mood, echoing the twists and turns of destiny, while the choir sings "Burning inside" and the male soloist tells the tale of the roasting swan, showing how one might be a lovely bird today and a roast on a spit tomorrow. The third and final section, "Court of love" presents ten songs in varied moods: brief ones and longer ones, depicting the phases of love, of joy and sorrow, of pleasure and uncertainty. The choir sings to Aphrodite, goddess of love, while the tune "Veni, veni, venias", followed by "Ave formosissima", resound recklessly around the hall, leading the entire performance to the apotheosis of the end. Evoking a solemn ritual, the choir takes over with a steadfast, regular beat, bemoaning the wounds of Fortune, empress of the world, perfidious lady, insidiously tempting and faithlessly perverse, constantly changing like the moon, rotating unceasingly while presiding over the fortunes of mankind. Carl Orff's "Carmina Burana" was composed in 1936 and presented at Frankfurt Opera House on 8 January 1937 under Bertil Wetelsberger. It was an instant, international success. When the Cantata was first produced, Orff disowned all his previous works, though some were later revised and restored. From then on he composed exclusively for the stage, though not conventionally: Carmina Burana, for instance, is usually given in a concert version, though Orff suggested that costumes, staging and props would enhance the effect of the work. Orff's mature style is dry and staccato, with much use of percussion, while the music is based on rhythmic patterns and their variations. Harmony is reduced to basic elements and melody is closer to rhythmic speech than to the expressive ideal of other composers. Carmina Burana is the first part of a triptych, followed by "Catulli Carmina" and "Trionfo di Afrodite". At Cairo Opera's Main Hall baritone Mustafa Mohamed and soprano Mona Rafla, who had often performed the solo parts of the Cantata, were in an elated musical mood, giving a lovely performance as they dodged the musical pitfalls. They are both veterans, having sung the main parts in most of the important operas, though this time they did seem somewhat ill at ease under the unaccustomed baton of the new Maestro. Mona Rafla has represented Egypt in various international competitions. She was awarded a scholarship to study at the Ecole Normale de Musique de Paris and her repertoire is quite varied. As for Mustafa Mohamed, he is one of the opera's most reliable and strong-voiced performers, enjoying an impressive repertoire. However, both singers have yet to get used to Maestro Andreas Sporri's disciplined conception of the work. His Pianissimi are not only based on reducing the volume of sound, but on expressing a feeling of sincerity, of elation, that slowly grows in colour and volume. Sporri's conducting requires emotion and colour, not only from the instrumentalists but likewise from the choir and the vocal soloists. They will have to get used to this conception, which is quite laudable. On the other hand, maestro Sporri will have to deal with some headstrong musicians, such as the pianist who had difficulties keeping the pace with the rest of the orchestra. But the Maestro will also have some consolation dealing with performers such as tenor Sobhi Bedeir, one of the most prominent singers and musicians of Cairo's opera house. He came on beautifully with his brief performance: the real professional among the vocal soloists. It goes without saying that Carmina Burana is a rather demanding musical work, requiring the utmost musicianship from all performers. Sporri's first concert as Cairo Symphony's Chief Conductor was, nevertheless, an excellent introduction to the orchestra's new season. The Maestro gave us a superb demonstration of virtuosity and of deep musical feeling, leading the masterpiece to an exciting end, while the crowd brought the house down.
