Maestro Toufic Maatouk conducts the Lebanese Orchestra and the Antonine University Choir at the USJ Church of St. Joseph. (Credit: Ihab Fayad/Beirut Chants Festival)
An electric atmosphere crackled through Saint-Joseph Church in Monnot on Wednesday evening. Beneath the nave, every bench overflowed with expectant spectators. “After two months under bombs, this concert feels like a miracle, a blessing!” a woman whispered to her neighbor, confessing she hadn't missed a single Beirut Chants Festival in its 17-year history.
The free concert launched with the sublime strains of Mozart's Coronation Mass (KV 317) and stirring excerpts from Handel's Messiah. This liturgical masterpiece, performed by the Antonine University Choir and the Lebanese Orchestra under the baton of Toufic Maatouk, featured the vocal talents of soprano Mira Akiki, mezzo-soprano Grace Medawar and bass-baritone Cesar Naassy.
The chef's masterful interpretation of "Sinfonia," the opening movement of Handel's Messiah, immediately captivated us with its stylistic integrity.
Bass-baritone Cesar Naassy, though possessing a somewhat tentative technique for such a demanding piece, delivered a compelling rendition of the recitative and aria “But who may abide.”
Mira Akiki delivered a truly commanding performance of the aria "Rejoice Greatly," her beautiful voice soaring with power and emotion. The chorus, too, demonstrated exceptional musicality, their rendition of the "Hallelujah" chorus brimming with infectious enthusiasm and effortless melodic flow.
However, a definitive assessment is challenging with only excerpts performed. Mozart's Coronation Mass presented a different facet. From the outset, Maatouk infused the performance with a fervent religiosity, conveyed through bold yet authentic pronouncements. His interpretation, driven by an undeniable passion, illuminated the work's spiritual depth.
Maatouk's interpretation of the Mass, imbued with a distinctive local flavor, yielded a unique and captivating sonic experience. Tenor Bechara Moufarrej, while not possessing the most remarkable voice, sang with assured style and impeccable taste, a quality shared by the other soloists.
Father Maatouk's conducting was vibrant and energetic, perhaps even a touch overly exuberant. His interpretation of the Mass was notable for its youthful vigor and brilliance, though his innate sense of volume and balance between the orchestra and choir was occasionally amplified to a fault by the sound system.
Rather than grandeur, the performance emphasized the melodious fluidity of the voices, seamlessly interwoven with the orchestra. Oboist Étienne Kupélian deserves special recognition for his poignant solo in the "Agnus Dei," reminiscent of the Countess's aria "Dove Sono" in Mozart's The Marriage of Figaro.
Never has the "Dona Nobis Pacem" resonated with such intense emotion, a poignant reflection of the turbulent times we face. The chorus's heartfelt plea for peace, displayed on signs at the concert's end, deeply moved the audience. A stirring rendition of "Adeste Fideles" brought this inaugural concert to a close.
This year, Beirut Chants once again presents a rich and diverse program, offering a tapestry of musical experiences to satisfy all tastes. Nineteen concerts will unfold across various venues in Beirut and beyond, including Monnot, Gemmayzeh, Zouk Mosbeh, Sin al-Fil, Kantari, Sursock and Balamand.
The festival culminates on Dec. 23 with a tribute to the Italian composer Giacomo Puccini, marking the centenary of his death. This special concert, presented in collaboration with the Italian Cultural Institute, will feature tenor Bechara Moufarrej alongside the Notre Dame University choir and orchestra, performing Puccini's masterpieces under the direction of Father Khalil Rahmeh at Saint-Maron Church in Gemmayzeh.
Between the opening notes and the final chords, Beirut Chants promises a series of inspiring encounters where music transcends the echoes of war, becoming a universal language of perseverance and hope.
This article was translated from L'Orient-Le Jour.
