by usia review
“Today, I Am as Old as the Jewish People Themselves” – Babi Yar
Dmitri Shostakovich’s Symphony No. 13, Babi Yar stands as one of the composer’s most powerful and courageous works. Based on the poem Babi Yar by Yevgeny Yevtushenko, the symphony reflects on the massacre of tens of thousands of Jews by Nazi forces in Kyiv in 1941. Scored for bass soloist, male choir, and large orchestra, the work is permeated by a somber, introspective atmosphere, placing particular emphasis on vocal declamation and textual clarity. Shostakovich here merges the structural framework of the classical symphony with elements deeply rooted in Russian musical tradition.
The symphony unfolds in five movements, each carrying strong ethical and emotional weight:
I. Adagio – An elegiac opening, functioning as a funeral ode. The bass voice invokes the memory of Anne Frank and other victims of antisemitic violence, setting a tone of profound mourning and moral outrage.
II. Allegretto – A sardonic ode to humor as a form of resistance. Through irony and satire, the movement offers momentary relief from oppression, presenting humor as an irreverent yet powerful weapon against tyranny—an intentional contrast to the prevailing gravity of the symphony.
III. Adagio – A melancholic homage to the Russian woman, celebrating her endurance, sacrifice, and quiet strength throughout history.
IV. Largo – A meditation on fear. This movement reflects the failure of a society that aspired to equality and justice but succumbed to repression and silence.
V. Allegretto – A biting portrayal of careerism and moral compromise. The music becomes momentarily lighter and more lyrical, concluding with the sound of bells—an ambiguous gesture that resonates between irony and fragile hope.
Shostakovich’s deep admiration for Modest Mussorgsky is clearly audible throughout the symphony, particularly in the emphasis on speech-like melodic lines and the stark, unadorned power of the vocal writing.
The Conductor and the Soloist
Conductor Nuno Coelho proved to be a true revelation. His interpretation revealed refined nuances and, above all, demonstrated a rare sensitivity toward the male choir, ensuring that their voices were never overpowered by the orchestra. This balance deserves special praise, as it is not uncommon for conductors—perhaps unconsciously—to compete with singers, ultimately drowning out their voices, particularly in climactic passages.
The bass soloist—this legendary Swiss singer—delivered an exceptional performance, combining vocal authority with expressive warmth. Endowed with a powerful yet velvety timbre, a secure bass-baritone range, and beautifully projected high notes, he brought both gravity and humanity to Shostakovich’s demanding score.
Opening Work: Xántara
The concert opened with Xántara by Portuguese composer Andreia Pinto Correia (b. 1971). The work has been described by The New York Times as an “auditory tapestry” and “powerfully meditative,” and has also received acclaim from The Boston Globe and other international publications. Andreia Pinto Correia has been a resident artist at the Rockefeller Foundation and a guest associate professor at the Jacobs School of Music, Indiana University, among many other distinctions.
This compelling opening work provided a contemplative and atmospheric prelude to the monumental emotional journey that followed.
#Shostakovich @TNSC @CCB #OPART
Thanks to: Centro Cultural de Belém, OPART/Teatro Nacional de São Carlos;TNSC, André Quendera, Raquel Maló Almeida; CCB, Sofia Cardim