Die Meistersinger (exc) - Wagner

Symphony No 9 - Beethoven

The singing of the RTE Philharmonic Choir - full-toned, homogeneous and alert - was the most impressive feature of the performances conducted last Friday night at the National Concert Hall by Alexander Anissimov. In this opening concert of the National Symphony Orchestra's season, the orchestral sound had that weight which is often associated with Wagner. Yet in the Meister- singer Prelude the results were not as impressive as those achieved via the deft, almost-classical clarity this orchestra and conductor produced in the same work around 18 months ago.

This opera sees Wagner at the height of his powers with what he called "the art of transition" - connecting contrasted sections to produce an almost-seamless musical narrative. In the Prelude and in the excerpts from Act III which followed it, that connectedness was impeded by Anissimov's concern for characterising the moment. Despite the impressive choral sound, the sense of cumulation crucial to Wagner was wanting; and Oleg Melnikov (bass) kept his eyes too firmly on the notes to convince in the majestic role of Hans Sachs.

In Beethoven's Symphony No 9, the augmented woodwind and brass (58 string players, 17 woodwind and 14 brass listed in the printed programme) needed more control over balance and, in the woodwind, over tuning. Every movement of this symphony had its moments. But they remained that, for they were made to seem more important than driving towards goals.

The choir delivered everything that was asked of them. But the high-pressure solo singing - Melnikov was joined by Virginia Kerr (soprano), Deirdre Cooling Nolan (contralto) and Patrick Power (tenor) - was symptomatic of a performance which tried too hard and was constantly making points with music which should be allowed to speak for itself.