GIVEN his multi-layered talents, it is amazing that Haydn waited until the age of 65 before writing a Handel-style oratorio.
But this sensational performance, given (quite authentically) in English and conducted from the fortepiano by Peter Seymour, proved The Creation to be the work of a youthful, optimistic spirit.
As so often before in collaborations between these ensembles, it was the Yorkshire Baroque Soloists – here a healthy 33 players – that ultimately took the laurels.
Impeccably crisp in the potentially fuzzy Representation Of Chaos, splendid in their two depictions of sunrise, one sturdy, the other gentle, and tirelessly disciplined throughout taxing choruses, they yet managed solo animal-painting that brought smiles of recognition to a full house.
Nor were the singers idle. Bethany Seymour’s lithe soprano, a touch edgy at the start, recovered to dab in much subtle ornamentation. Stephan Loges, also sluggish off the start, developed magnificent resonance in his bass arias and a deft touch in his recitatives. Together, they milked Adam and Eve’s extended love-making to the limit. Purely vocally, of course. Charles Daniels brought palpable determination and forthright tone to the tenor role.
Yorkshire Bach Choir exploded into life at the creation of light and never looked back. Balance required a marginally firmer tenor line, but there was no doubting the choir’s tenacity, which peaked in Part Three. Seymour accompanied the Genesis recitatives without cello continuo, while applying a light but hugely effective touch to his conducting.
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