EIF Review: Christian Tetzlaff & Camerata Bern

Originally billed as Patricia Kopatchinskaja with Camerata Bern, undisclosed circumstances have changed the performance, if not the programmes – presumably printed pre said circumstances. So the busy, if not full Queen’s Hall were treated to German virtuoso Christian Tetzlaff & Camerata Bern, playing Haydn’s ‘The Seven Last Words of Our Lord Saviour on the Cross Op 51 HOBXX:1’.

However anyone expecting a conventional, if stellar quality run-through of this religious classic would be swiftly proved mistaken. Entitled ‘Seven Last Words’ this would be a hybrid concert, fused with an video installation by René Liebert. To this end, three long sheets hang behind the large ensemble, upon which the artist relayed images of the catastrophes facing today’s world, most often between movements but with certain effects bleeding in and through the live performance.

Accompanying the video interludes were recorded testimonies of native peoples, talking of the toll of unbridled capitalism on their homelands, and the resources upon which the globe depends.

It is important to state, first, that the quality of playing was exceptional. It’s rare to see such a full compliment, all strings, on the relatively compact Queen’s stage, and they delivered Haydn’s work with both passion and accuracy. Tetzlaff is not terribly demonstrative for a string virtuoso, but he is wonderfully cooperative with the famously conductorless, chameleons of Camerata Bern. If rehearsal times have been limited, it did not show.

This was a dynamic rendition of the work, the pizzicato rich 6th movement, ‘I Thirst’ offering a particularly atmospheric moment of skin-prickling beauty amidst the gloom.

When it comes to the video presentation, there can be no doubting the nobility of the intent, nor the quality of delivery. Perhaps there were more moving bodies than usual in a classical concert, but the result felt practiced, rather than hectic. Whether this media addition lent a great deal to proceedings is another matter, however dramatic amist a blacked out Queen’s Hall auditorium. Relating The Passion to the passion of an entire planet is perhaps a reach too far inside 70 minutes, but such innovations are to be applauded, and indeed encouraged.

However I do wonder whether the gargantuan black curtain shrouding the rear wall didn’t dampen the orchestra acoustically, though come the finale ‘The Earthquake’ they certainly did threaten to make the walls shake.

All in all a memorable morning as we look to the end of this year’s Edinburgh International Festival, ‘Christian Tetzlaff & Camerata Bern’ offered fine music, and a noble message.