BY STEPHANIE ESLAKE
According to Sasha Cooke, “Berlioz is just unlike anything else”.
“The colour, harmony, melody in his music are beautiful, emotional and so uniquely divine in a way that makes the nativity story a natural fit,” Sasha marvels.
This mezzo-soprano is gearing up for her final performance of one of the composer’s great works: L’Enfance du Christ. It unites a cast of starring singers with the Melbourne Symphony Orchestra under the baton of Sir Andrew Davis.
“I always feel very lucky to sing his music, and especially since he wrote so much amazing music for mezzo-soprano,” Sasha says of this 19th Century composer. In this story, we venture into the music of Berlioz through the ears and voice of this Grammy Award-winning singer.
Join us for this aural journey into L’Enfance du Christ – and be sure to turn up those speakers as Sasha guides the way through her favourite musical moments.
La Vierge Marie
Sasha: I would say the most difficult part for the mezzo La Vierge Marie (the Virgin Mary) is the very beginning of her part. It’s an intimate moment; a mother singing a sweet lullaby to her baby boy the infant Jesus (which, as a side-note, strikes a strong contrast with Herod’s tempestuous music we hear before this moment).
Meanwhile, Berlioz writes the mezzo’s part towards the top of the vocal range in a hovering but penetrating way; so the singer must be calm and collected enough to feel at ease in a slow, poignant lullaby – but energised enough to handle the tessitura and longer lines.
The rejection
Sasha: For me, the most emotional moment is after the holy family’s flight to Egypt, whereupon they’re rejected again and again by every person they approach for refuge or help. There are moments in the musical accompaniment where you almost can hear the knocking on strangers’ doors and then the anxiety in the orchestra under their vocal lines.
Joseph and Mary become increasingly upset and exhausted. One can just imagine how worn their feet must be after the long journey carrying the baby and all of their belongings. Given the current state of immigration worldwide right now, and the notion of rejecting outsiders, this is a particularly moving scene for me.
L’adieu des berger
Sasha: The most beautiful movement for me is the choral L’adieu des berger, which interestingly was the first thing Berlioz wrote of this work. Before he had even conceived of the idea of setting this story, he wrote it as an organ piece for a friend.
There is a folk-like simplicity and repeated melody, which is ravishing. And given the sentiment of wishing the holy family safe travel, it has a warm, generous sweetness. That, and the narrator’s part – the best part in the show!
The narrative
Sasha: It’s very difficult to pick one ‘most’ significant part, because – like all Berlioz – it’s very organic and interconnected due to the narrative. In other words, one scene leads to the next and to the next. Each emotional and musical section has its own character special to that part of the story. Plus, everything is just so beautiful! I think Berlioz himself would have trouble singling out any one moment.
Want to see it all come together?
Watch Sir Andrew Davis conduct the Melbourne Symphony Orchestra with Sasha Cooke and other celebrated singers in Berlioz’ L’Enfance du Christ TONIGHT, 6.30pm in Hamer Hall.
