Review: San Francisco Symphony tackles two massive religious works

Led by the expressively exacting conductor Charles Dutoit, the San Francisco Symphony this week is performing two colossal religious works for orchestra and chorus. One turns out to be sensuous, warm-hearted, light as air: a pious souffle. It's by Poulenc. The other is ponderous, weighty, straining for effect: a reverential meat dish. Like a bulging roast, spilling off its platter, it's by Berlioz.

Poulenc's "Stabat Mater" and Berlioz's "Te Deum" are "big-deal pieces," as James M. Keller, the orchestra's program annotator, put it in a preconcert talk Wednesday at Davies Symphony Hall. Neither is performed all that much, however. Poulenc's work, from 1951, has taken a back seat to his better-known "Gloria." Likewise, Berlioz's colossus, from 1849, is overshadowed by his Requiem. At Wednesday's program, which repeats through Sunday, the contrast between these two French evocations of religious ideals couldn't have been greater.

Clocking in at around half an hour -- with Swiss-born Dutoit maintaining a sensuous pulse even through its slowest and (so they say) most sorrowful movements -- Poulenc's opus was delectable. That adjective may seem inappropriate, is a reference to Mary mourning her crucified son. It's just that with this piece (prompted by the sudden death in 1949 of Poulenc's friend, fashion illustrator Christian Berard), sorrow seems such a pleasure.

Abetted by the 124-voice San Francisco Symphony Chorus, directed by Ragnar Bohlin, the opening "Stabat Mater dolorosa" was lush and jazzy. The chorus took the full measure of the composer's five-part writing; a satiny blend, weighted toward darker colors. Then the piece went skipping through its 12 brief movements.

http://www.mercurynews.com/entertainment/ci_22541494/review-san-francisco-symphony-tackles-two-massive-religious

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