Simone Sings Opera at Flagey

Well, it was actually a performance of Felix Mendelssohn Bartholdy's oratorio Elijah by the Charlemagne Orchestra for Europe, featuring the Brussels Choral Society, of which I am but one member and technically not trained as an opera singer. But, whatever, I like my title better.


Photo Courtesy Charlemagne Orchestra

For those of you who might not be familiar with the term oratorio (and I must confess that, despite my years of singing, I had to look it up once I found out we were singing one), it is basically an unstaged opera. According to my handy 'Chambers Dictionary of Music', an oratorio is a "dramatic, musical setting of religious texts, scored for orchestra, chorus, and solo voices. Originally it was acted out with scenery and costumes, but gradually it became more commonly performed as a concert." Handel's Messiah is probably the most famous example of an oratorio. Mendelssohn's Elijah depicts scenes from the life of Old Testament prophet Elijah, including his dramatic confrontation with the priests of Baal.



This was my first exposure to Mendelssohn's orchestral work, and, with a 200 page score, it was quite a first taste. Add a tongue-twisting German text and every emotion from anger to desperation to angelic gratitude and you've got yourself quite a challenge. (Funny side note, but after months of rehearsals holding up that mammoth score, my right bicep is noticeably bigger than my left one. I kid you not.)

Check out the size of those suckers!

Photo Courtesy Charlemagne Orchestra

A shot of one of our générales (dress rehearsals)

Photo Courtesy Becca Steel

Our concert was on April 20th, at a really cool venue--Studio 4 at Flagey. Studio 4 is located in one of the first radio broadcasting buildings in the world, a 1938 Art Deco gem formerly known as the Maison de la Radio Flagey. Because of its former life, the acoustics in the 900-seat hall are amazing. The room was a dream to sing in--really effortless on the voice, which was incredibly helpful given that it was a nearly 3 hour performance (including intermission).



We sang under the firey baton of le chef d'orchestre Bartholomeus-Henri Van de Velde. Barth is a larger-than-life character that startled some of the more reserved (read: British) members of the choir.


Photo Courtesy Becca Steel

Originally a violinist, he founded the Charlemagne Orchestra nine years ago, and is now also, among other things, an ambassador of sorts for Rolex and BMW. He is dramatic, demanding, exacting, and confident-tiptoeing-near-arrogant. He is also disarmingly charming. Some found that combination a bit off-putting, but I loved his style and enjoyed working with him enormously.


Photo Courtesy Becca Steel

As a whole, the performance went really well. The orchestra had some really beautiful moments, and the soloists (professional opera singers all) delivered fine, albeit not groundbreaking, performances. However, the choir and the alto soloist, Julie Nesrallah, really stood out above the rest. (And, I'm not just saying that because I'm a member of the choir nor because I'm an alto--even my soprano friends agree!)

Julie Nesrallah, the alto soloist

Photo Courtesy Charlemagne Orchestra

This concert was also my debut organizing the altos as their Voice Representative. (A position of real power, let me tell you.) Seriously though, it's really rewarding to be involved with an organization of this caliber, and given the opportunity to perform in such venues, with such talented artists. I am already looking forward to our next concert--two June performances in Holland of Beethoven's 9th Symphony and his Chorfantasie.