At the BPO, a Rare Mozart Masterpiece

Former BPO music director Maximiano Valdés returns with the 'Great' Mass in C Minor

The stage at Kleinhans Music Hall at the end of the Friday morning Coffee Concert. Photo by Mary Kunz Goldman.

The Buffalo Philharmonic Orchestra began its two-week Mozart festival Friday morning. The crowd was eager. And in the “Prague” Symphony — the concert’s first half — there was clapping between movements. That tells me newcomers were here. Welcome!

On the podium was Maximiano Valdés, who served as the BPO’s music director before JoAnn Falletta. The program culminated in Mozart’s “Great” C Minor Mass. This is a tour de force the orchestra has performed only once before, in May 1998 — conducted on that occasion too by Valdés, who was at the end of his tenure. This was a triumphant return.

It has long been my impression that musicians who remember Valdés’ time in Buffalo hold him in special regard. Friday, it was easy to see why.

Some conductors are dramatic, even bombastic. There’s a place for that. Valdés is the opposite. He conducts conservatively, using the traditional stick. His movements are economical. He stands stiller than any conductor I have ever seen. Tempos were steady, brisk, and unwavering.

It was like observing a calm airline pilot. You get the sense that the universe is unfolding exactly as it should. It frees you to listen and enjoy. Absorbing the “Prague” Symphony, I felt myself drifting into a trance — and I mean that in the best way.

The musicians of the BPO followed the conductor’s example. Everyone played with focus and precision. The dynamics were intentional and carefully sculpted, the sound warm and rich. Valdés lovingly took repeats.

At the same time, the orchestra — pared down in the way orchestras usually are for Mozart — delivered drama when called for. The fortes were resonant and satisfying. Interestingly, there were four basses — a lot for Mozart — and that added weight and power. I loved it.

You could quibble with Valdés’ choice of tempo. I prefer this slow movement a bit slower and wanted a breath more space here and there. That’s a matter of taste. Overall, this was one of the most beautiful performances of the “Prague” Symphony I have ever heard — and I have heard many.

Then came Mozart’s “Great” C Minor Mass. This is music that still feels monumental, unfinished though it is.

Valdés and the orchestra brought deep feeling to it from the very first bars. Those opening moments are crucial. The musicians took their time. For a moment, there was only silence. The Buffalo Philharmonic Chorus — about 100 strong — stood waiting. The orchestra was motionless. Valdés, too, was still. Then the baton lifted, and we heard that breathtaking, sighing introduction.

You couldn’t help but think of the Requiem. The mood was similar.

That opening set the tone for the entire work. The chorus took its cue from that sound, and the soloists rose to meet it. This is music to see as well as hear. There is so much to love: the woodwinds’ delicate interplay with the soloists (Valdés later singled out these musicians with a special nod), the crisp timpani, the exquisite soprano melodies.

The soprano soloists, Natalia Santaliz and Camila Isabel, both in resplendent gowns, sang with voices light rather than heavy — perfectly suited to Mozart. Tenor John Tiranno and baritone Holden Turner, though less often in the spotlight, enchanted in the Benedictus of the Sanctus. One instrumental interlude paired tenor and bassoon in tandem, a moment of quiet magic.

There was a thrilling contrast between the Kyrie and the Gloria — between minor and major, penitence and praise. Trust me, you won’t sleep through this.

There is a lot to occupy you mentally as well as emotionally. Even newcomers could hear echoes of Handel. “In excelsis — in excelsis” carries the rhythm of the Hallelujah Chorus, and another instrumental passage recalled “Messiah.” There were two basses in the Mass, as opposed to the four in the symphony — another thing to think about.

Surtitles accompanied the Mass, allowing everyone to follow the prayers and Mozart’s musical interpretation of them.

Mozart wrote this Mass for deeply personal reasons and never finished it — likely because paid work intervened. The Credo breaks off after the “Et incarnatus est.” There is no Agnus Dei. As a result, concert performances end dramatically with the majestic Sanctus. The brass fanfares, and those last transcendent chords! No wonder the audience rose and applauded. How could you help it?

It seems that Mozart is trying to make us see heaven — and if anyone can do it, he can. It was thrilling, and moving, to see Valdés and his assembled forces rise to the challenge of bringing that vision to life.

This once-in-a-generation concert repeats at 8 p.m. Saturday. If you’ve ever wondered why people still gather to hear Mozart together in silence, this performance gives you the answer.

For more information on BPO concerts and for tickets to the Mozart festival, click here.