Dvorak's ‘Stabat Mater’ was very well performed by the Highland Park Chorale and Orchestra. But is it an unjustly neglected masterpiece?
George Gregory Hobbs conducts the Highland Park Chorale and Orchestra, with soloists NaGuanda Nobles . Roderick George , Alissa Anderson and Kevin Burdette at Moody Performance Hall on March 23, 2024.Three p.m. on a Saturday afternoon was a strange time to schedule a concert. And, although four of Antonín Dvorák’s nine symphonies are concert hall staples, his little-knownwas less likely to draw a crowd — as it sadly didn’t March 23 at Moody Performance Hall.
It got quite a fine performance from conductor George Gregory Hobbs and his Highland Park Chorale and Orchestra. Hobbs and his forces, an outreach from the music program at Highland Park Presbyterian Church, have presented chorus-and-orchestra works otherwise unlikely to be heard around here, as well as some standard rep. This season’s grand finale, on June 13 at the Meyerson Symphony Center, will be no less than the Berlioz Requiem.
Within a mere two months, between January and March, three of Gustav Mahler’s middle symphonies will have been performed by three of Texas’ top orchestras. In, as it happens, reverse order. In what has come to seem a defining test of orchestras and conductors, more Mahler is on the way.The Dallas Symphony Chamber Players performed Monday night at Southern Methodist University’s Caruth Auditorium, as part of the Dallas Chamber Music Society’s concert series.
Especially on the eve of Holy Week, a busy time for church musicians, it was quite an accomplishment to assemble 43 singers and 42 instrumentalists for a work virtually none would have done before. But aside from momentary ensemble slippage at the beginning of the very quick concluding “amen”s, Hobbs’ clear conducting produced an impressively secure performance.
Careful preparation made for a well-balanced chorus, with a full dynamic range up to occasional fortissimos that thrilled without overpowering. At least from a balcony perspective, diction could have been clearer.Standout of the soloists was soprano NaGuanda Nobles, with a creamy, almost mezzo-ish timbre that could produce enormous power. Tenor Roderick George had heroic power, too, but bulges on virtually every note worked against legato lines.
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