From the Press

 

Kuljeric: CROATIAN MASS
The most extraordinary event of the evening was Kuljeric"Croatian Mass."

Unlike most traditional Western version of the Mass, this work relished the foot stomping rhythms of folk tunes along with sections reminiscent of Russian Orthodox chanting, including those low, low bass notes. At the other end of the vocal spectrum, soprano and tenors were asked to sing at the highest limits of their vocal ranges. The same thrilling tessitura was demanded of the two soloists, the tenor and the mezzo. The tenor took center stage in numerous sections with blazing vocal purity.

A beautiful moment came when Avetisyan joined the tenor in a glorious high A, usually the upper limit of a mezzo's range. The mezzo also gave the Agnus Dei a level of poignancy not heard in many Western version of this last section of the Mass. The Concert Choir was dazzling with pianissimo chanting at times and exuberant swelling at others. The orchestra [the Oregon Mozart Players] performed exceptionally well.
The Register Guard, May 2009

 

Arvo Part: PASSIO
Choir & Orchestra of St. Cecilia

In "Passio," the agony is white-hot ... The first effort of the Society of St. Cecilia was ambitious and successful in its performance of this difficult music. Conducted admirably by Zvonimir Hacko, former conductor of the Sacramento Philharmonic, the ensemble, including orchestral accompaniment by cello, violin, oboe, bassoon and organ, gave an impressively dramatic performance. Part's music is spare, at times unbearable, and therefore an appropriate treatment of the subject of persecution and crucifixion. Its dissonance comes from his chord clusters, seesawing melodies with broad dizzying intervals and crisscrossing harmonies. These elements were approached intelligently and painstakingly by the conductor, ensemble and soloists.

 

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