Beethoven

THE presentation of the 9th symphony of Ludwig van Beethoven at the close of the Cairo Symphony Orchestra season was performed on the Big Theatre of the Nile-side Cairo Opera House. The performance was part of an Opera House tradition that stages an important concert at the end of each season.

The concert was conducted by Swiss Maestro Andreas Sporri, with an acapella chorus and Opera House luminaries Eman Mosutafa, soprano, Hanan el-Gendi alto, and Tamer Tawfiq, tenor and Reda el-Wakeel, bass. The Symphony No. 9 in D minor, Op. 125 is the last complete symphony composed by Ludwig van Beethoven. Completed in 1824, the choral 9th Symphony is one of the best known works of the Western repertoire, considered both an icon and a forerunner of Romantic music as well as one of Beethoven's greatest masterpieces. Symphony No. 9 incorporates part of ëdie Freude? (Ode to Joy), an ode by Friedrich Schiller, with lyrics sung by soloists and a chorus in the final movement. It is the first example of a major composer using the human voice on the same level with instruments in a symphony, creating a work of a grand scope that set the tone for the Romantic symphonic form. The audience was puzzled during the finale in that the chorus did not deliver it?s finest moments. For instance, in the final movement, prelude was not strong enough and lacked the precise renditions by brass instruments, especially in the first stanza. The chorus also had its shortcomings. In some stanzas they performed very mildly while the composition called strident vocals. As for the soloists, there were some stanzas that should have been performed quickly while the opposite happened. In general the soloists lacked the brightness which one comes to expect from the 9th symphony. The only exception was soprano Eman Moustafa who excelled in her performance while other soloists, including Reda el-Wakeel, performed modestly. El-Wakeel should have started with a stronger and louder voice in order to lead the rest of soloists. It could also be noticed that Maestro Andreas Sporri was unable to balance the orchestra in a comprehensive manner. For instance, at times the brass was played with such gusto that the strings could not be heard at all. However, the Maestro totally was indeed masterful in conducting the last movements of the finale, and a fine balance was struck, all instruments performing as one. The late composer Richard Strauss once said: ?start strong and end strong and do what you want inbetween.î