Joseph Haydn (1732–1809)
Die Schöpfung, Hob. XX1:2(1798)
Lucy Crowe (soprano), Benjamin Bruns (tenor), Christian Gerhaher (bass-baritone)
Chor des Bayerischen Rundfunks
Symphonieorchester des Bayerischen Rundfunks/Sir Simon Rattle
rec. live, 18-22, September, 2023, Herkulessaal der Residenz, Munich, Germany
Texts and English translations provided
BR Klassik 900221 [2 CDs: 100]

The music of Haydn has always been important to Sir Simon Rattle. Indeed, I’ve never forgotten seeing him interviewed on television at the time of his appointment as Chief Conductor of the City of Birmingham Symphony Orchestra; asked which composers he wanted to explore with the orchestra, he specifically referenced Haydn. Since then, he has gone on the perform and record music by Haydn with most, if not all the orchestras he has led, recording, for example, several symphonies in Berlin (review). Of particular relevance to this new release, he made a recording of The Creation with the CBSO and its Chorus for EMI in 1990. I bought that recording when it came out and have greatly admired it ever since. That recording presented the oratorio in English; now, he has recorded the work in German with his current orchestra, the Bavarian Radio Symphony Orchestra (BRSO). Indeed, I think I’m right in saying that this live recording was captured at the concerts with which Rattle inaugurated his tenure as Chief Conductor of the BRSO.

The orchestra is on top form for their new Chief. All sections of the BRSO play wonderfully, but time and again my attention was drawn to Haydn’s felicitous, inventive and often witty writing for the woodwinds. The beguiling flute playing in the introduction to ‘Aus Rosenwolken bricht’ at the start of Part III is a particular delight, but it seems almost invidious to single out the flautists when the contributions of their colleagues – and not just those in the woodwind choir – is so distinguished. Rattle gets them to play with due regard to HIP practices and so, for instance, the use of vibrato by the strings is sparing; I particularly noticed – and relished – the oftentimes gruff double bass sounds. The horns rasp most satisfyingly at times. As is his wont, Rattle is acute in his insistence on attention to dynamics and accents and usually this works very well. Just occasionally, though, my eyebrows were raised and one such instance occurred during ‘Die Vorstellung des Chaos’. At 2:20, just before Figure 1 in my vocal score, there’s some distinctly odd articulation of the rhythms (a semiquaver chord followed by a quaver chord). The two chords seem to be elided and I can best describe what I hear as ‘m-wah’. I don’t know what the intention is but the music is not cleanly articulated. (In the CBSO recording there’s a not dissimilar effect but its far less pronounced.) Elsewhere in the score there are other instances of a semiquaver chord followed by a quaver chord but these are articulated as I’d expect. Some may find Rattle’s dynamic contrasts to be overdone – there is, for example, extremely quiet playing in the passage in Part I where the tenor describes the moon (during ‘In vollem Glanze steigt’) – but I applaud the way that Rattle ensures that dynamics are used to render Haydn’s imaginative music so vividly. One thing I should mention is that the fortepianist who supports the recitatives does so in a neat and unobtrusive fashion, which is very much to my taste; there’s none of the fussy over-elaboration that I’ve heard in one or two performances.

The work of the Bavarian Radio Choir is just as impressive as the orchestral playing. Early on, they combine with the orchestra to create the aural equivalent of a blaze of light (‘und es ward Licht’) – which is made all the more imposing following their hushed delivery of the preceding music. They bring both clarity and liveliness to Haydn’s various fugues and there’s a palpable sense of jubilation in choruses such as ‘Die Himmel erzählen’ at the end of Part I; incidentally, in this chorus Rattle really hits the accelerator at the Più Allegro and his choir responds superbly, making the chorus end in an exciting fashion. (Exactly the same thing happened in the Birmingham recording and the CBSO Chorus were just as alert and accomplished.) I enjoyed every aspect of the choral singing in this performance. Haydn wrote some great choruses in Die Schöpfung and Rattle’s excellent choir more than does justice to them.

Once or twice, I’ve heard fellow choral singers gently complain that in this work the choir has to sit around for long periods while the soloists strut their stuff. I know what they mean but, to be honest, I don’t find it much of a hardship because the solos form a succession of memorable numbers. And it’s even less of a hardship when one is listening to top rank soloists such as the team that was assembled for this performance. Lucy Crowe takes the twin roles of Gabriel (in Parts I and II) and Eve (in Part III). There’s an argument for having two different sopranos – as there is for having a different male singer as Adam in Part III – but to be honest it’s an extravagance and I don’t think it’s too much of an issue; here, Lucy Crowe is equally successful in both roles, as is Christian Gerhaher. For the most part, I enjoyed Ms Crowe’s contributions very much. I ought to get my one reservation out of the way at once. It concerns the extended aria ‘Auf starkem Fittiche’ (On mighty pens) at the start of Part II. Here, Haydn writes an elaborate and frequently decorated part for his soprano but it’s customary and, indeed, desirable, for singers to supply additional ornamentation at certain points. Lucy Crowe most skilfully touches in all the embellishments that Haydn supplied but, I’m afraid, I feel that at times she goes too far in the way she adds her own ornamentation. It’s a pity because so much else in the aria is delightful; for me, this is an instance of ‘less is more’. (Incidentally, the sorely-missed Arleen Auger does not fall into this trap on Rattle’s CBSO recording.) On the other hand, in her very first aria, ‘Mit Staunen sieht das Wunderwerk’ (The mighty work behold amaz’d) Ms Crowe’s singing is athletic and her tone gleaming. She’s similarly impressive a little further into Part I in ‘Nun beut die Flur’ (With verdure clad). Here, aided by the ideally lilting tempo that Rattle sets, she offers easy, clear singing and on this occasion, I do like the ornamentation which she adds in the da capo. That said, for all the pleasure I get from Lucy Crowe’s singing, my loyalty to the delectable Arleen Auger is not shaken. I’ll consider Ms Crowe’s contribution to Part III shortly.

Benjamin Bruns is cast in the tenor role of Uriel. He’s excellent, starting with the fine impression he makes after the Chaos has been dispelled at the start of Part I. I much admired the range of expression – and dynamics – he brings to bear in ‘In vollem Glanze steigt’ (In splendour bright). Haydn’s music brings a telling contrast between the brilliance of the sun’s rays and the gentler moon shine; Bruns is excellent here. In Part II his clear, flexible voice is ideal for ‘Mit Würd’ und Hoheit angetan’ (In native worth). The wonderful, poetic ‘Aus Rosenwolken bricht’ is a great test of a tenor’s expressive powers and control; Bruns passes with flying colours.

Crowe and Bruns are excellent but Christian Gerhaher surpasses even their achievements. The sheer sound of his voice, evenly produced throughout its compass, gives great pleasure but even more impressive is the way he inflects the words. He brings all his recitatives vividly to life – he’s a real storyteller – and his arias are marvellously done. Right at the start, he invests ‘Im Anfang schuf Gott Himmel und Erde’ with real mystery and awe. ‘Rollend in schäumenden Wellen’ (Rolling in foaming billows) allows him to display several facets of his way with the music – and words. Initially, he sings with great presence, matching the way the BRSO illustrates the ‘foaming billows’. But later, there’s a seamless legato and ideally smooth singing in the passage beginning ‘Leise rauschen’ (softly purling).  In Part II Gerhaher, as Raphael, tells of the creation of the various animals and insects (‘Gleich öffnet sich der Erde Schoß’); he really characterises each of the animals in turn, while Rattle and his orchestra are equally adept in delivering Haydn’s onomatopoeic orchestration; it’s all marvellous. In Part III, Gerhaher and Crowe change characters and become, respectively, Adam and Eve. Both are excellent, Gerhaher is a suave suitor, every bit the Enlightenment man as he treats his partner in a courtly fashion. For her part, Lucy Crowe is a bright-eyed young lady. They have three extended duets and theirs is an elegant courtship, though eagerness takes over at ‘Der tauende Morgen’ (The dew-dropping morn). Haydn’s wit and invention is put across really well, both by these two singers and by the orchestra.

Presiding over all this is Sir Simon Rattle. There are one or two occasions, as I’ve suggested, where some may feel his keen-eared attention to detail is overdone. For myself, I love the way he notices every detail that Haydn has woven into his score and then ensures that the appropriate effect is made. His conducting is full of spirit but also fully alive to the poetry and sheer joy inherent in this score. Die Schöpfung is a life-enhancing score, teeming with invention, and here Rattle, working with his players and singers, ensures that the work is brought vividly to life.

This outstanding performance has been recorded most successfully by the BR Klassik engineering team. The booklet, which includes the full text and an English translation, also contains a very useful essay by Vera Baur.   

John Quinn

Previous review: Philip Harrison (February 2025)

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