After the success of the Mother’s Day Concert on May 1st, one could imagine that a concert six days later would only be sparsely attended. What a surprise then to find the suur saal filled with an appreciative and enthusiastic audience, who would be amply rewarded with a thrilling program of Estonian music, virtuosic flute playing and Italian opera!
The soprano, Grace Eckmann added immeasurably to the program, especially because of her flawless Estonian. Having been a student of Maaja Roos since the age of nine, it was apparent she had been well-schooled not only in Estonian, but in a variety of Romance languages. She opened the program with Panis Angelicus, to the accompaniment of beautiful flute echoes played by Leelo Valdsaar. The choir assembled to the music of Backman’s Pühapäeva Hommik,
then seamlessly sang three verses of the piece with such a supple and beautiful tone one felt transported to a scenic village in Estonia, with Viiraldi clouds hanging above: ei liigu lehed toomel ja linnukene vaik. Vaid õrnalt õitsvad põllud, ning mägi haljendab.”
Mis Need Ohjad Meida Hoidvad catapulted the choir to the sound of a much larger choir. What truly mesmerized the audience was the fierce pride with which the Segakoor sang those stirring words, arranged by Mart Saar. By contrast, Mina Härma’s arrangement of Lauliku Lapasepõli had such poignancy and sweetness that it deeply stirred memories and emotions of long ago. The concluding rahvalaul, Kui Mina Alles Noor Veel Olin had the power and strength of a mass choir, particularly in the arrangement of Veljo Tormis where, unexpectedly, entire measures leave the choir in complete silence. What a masterful technique to have this familiar folk tune sung in full voice, only to stop in mid-sentence with dramatic pause, and then to resume in powerful dynamics. The audience bellowed with bravos and tears!
Two Rudolf Tobias pieces, Jeruusalemma Tütred and Oh Mis on Inimlaps had been sung at the previous church concert, but from what I’ve heard, they were even more beautiful to hear at this concert. The choir was so intuitively connected to the conductor, that every nuance and directive seemed to flow with what could only be called divine inspiration. It should be noted that Leila Roos and Grace Eckmann, who sang the middle soprano solo, performed at a professional level.
Leelo Valdsaar then played two impressive and contrasting selections: G.F. Handel’s Arrival of the Queen of Sheba and En Bateau by Claude Debussy. These pieces demonstrated virtuosic technique, a gorgeous tone, and tremendous musicality. Indeed, the Debussy conveyed the feeling of being at sea in a lovely boat gently gliding in the water. The conclusion of the program was pure opera. Grace Eckman sang Porgi Amor from Le Nozze di Figaro with extraordinary sensitivity and pure intonation. The full choir followed with Mozart’s opera, Idomeneo: Placid e il Mar. Then came Madame Butterfly, Un Bel Di, bringing the audience to tears, and finally from Nabucco: Va, Pensiero. What a fitting conclusion this piece was, celebrating Italian freedom and the Homeland, very much what Estonians also celebrate!
At the end of the concert, Toomas Sõrra gave flowers and a very touching tribute to the choir. He was not the only person in the audience who felt emotional at this outpouring of song from the choir. Leelo Valdsaar, flutist from the Naples Philharmonic had flown in from Florida just to participate and support the choir. Hele Leesment had actually spent months rehearsing with the choir on Skype from North Carolina. Kudos also to the president of the choir, Eha Brownell, who has tirelessly worked to keep the choir organized and, more importantly, growing. Finally the entire audience was on its feet applauding and cheering the New Yorgi Eesti Segakoor, so devoted to keeping Estonian song alive!
New York,
Taavo Roos
