Reviews

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Like a baseball game rescheduled after a rainout, there was one more concert on the San Francisco Symphony’s season calendar after last week’s grand finale with outgoing Music Director Esa-Pekka Salonen.

The orchestra staged its makeup performance of Verdi’s Requiem on Friday, June 20, a concert that was canceled during the Symphony Chorus’ strike in September last year. James Gaffigan generously stepped in to conduct the work, which Salonen would have led in the fall. The program is slated to be repeated on Sunday, June 22, at Davies Symphony Hall.

After its extraordinary contributions to Salonen’s farewell performance of Gustav Mahler’s Symphony No. 2, the Chorus showed it was worth every penny of the anonymous $4 million gift made in the months following the strike. The singers came to the fore not just in the 90-minute Requiem, normally programmed by itself, but in a first part that included three choral pieces by Gordon Getty, himself a generous donor to the Symphony (and a co-founder of San Francisco Classical Voice).

Getty’s works are genial, melodic and accessible, and Gaffigan, a friend of the composer, led them deftly and with evident care. The Intermezzo from Getty’s 2017 opera “Goodbye, Mr. Chips” begins delicately, with spare lines in the marimba giving way to the harp, then acquiring a more definitive melodic profile in the strings. It’s a meditative piece that finds an unexpected climax when the choristers interject a school hymn, almost as if overhead from afar.

The Chorus also gave fine performances of “Saint Christopher” (2024), which features effective writing for voices, and “The Old Man in the Snow” (2020), a more substantial work in several sections that Getty skillfully sets apart with different instrumentation, including a trombone choir, keyboards and mallet percussion.

Symphony Chorus Director Jenny Wong did an outstanding job preparing this music, and the singers communicated its spirit with unfussy directness. But they were brilliant in the Requiem that followed intermission.

If the performance of the piece as a whole lacked finesse, their contributions were nonetheless stellar. The singing was artful, from the opening “Requiem aeternam,” with the sound humming in the air through the nasal consonants, to the explosive “Dies irae” and the stentorian “Rex tremendae.” The women made a luminous entrance in the “Lacrimosa” at the line “Huic ergo parce, Deus” (Therefore spare him, O Lord), and the whole chorus concluded with the fearful declamation and hortatory final fugue of the “Libera me.” The singers encompassed the range of Verdi’s writing in finely balanced sound that pulled emotion from every chord change.

Gaffigan’s conducting, however, emphasized drive and the titanic climaxes while shorting the Requiem’s poetic side. Certainly, this is a public religious work, conceived as a memorial to Italian art — first to the composer Gioachino Rossini and then, when that initial plan fell through, to author Alessandro Manzoni. But it’s not only theatrical. This interpretation was driven by inflexible tempos and a sameness to all of the climaxes and fortissimo outbursts that ultimately became wearing. Though the orchestra played well, earning deserved applause, the performance was missing a sense of transcendence and the overarching struggle of mourning and fear giving way to tranquility and acceptance.

The soloists — soprano Rachel Willis-Sørenson, mezzo-soprano Jamie Barton, tenor Mario Chang and bass Morris Robinson — were generally excellent. The notable exception was Chang’s effortful “Ingemisco” prayer, sung without any bloom in the tone and generally unresonant and unconvincing. The violins joined Willis-Sørenson in a moving “Sed signifer sanctus Michael” (Let the standard-bearer holy Michael), the soprano singing sweetly in one of the score’s many standout lyrical moments. If there had been more of those, this Requiem would have been even better.

Michael Zwiebach is a freelance writer. This review has been provided in partnership with San Francisco Classical Voice.