At the end of the season, the Munich Philharmonic performed something popular: “Carmina Burana” by Carl Orff. The unrestrained vital song of praise to alcohol and sex not only fits well into the summer, it also fits well, at least acoustically, into the Isarphilharmonie. Because the directness and lack of sound mixing, otherwise often a problem with large ensembles, is exactly what the score wants. To put it simply: it really makes a bang – which is why the percussionists honestly deserve their extra applause in the end. The large cast of Munich Philharmonic Choir articulates powerfully and precisely from the stage gallery, but also has an intense legato sound to offer. The French conductor Alain Altinoglu doesn’t overdo it, but keeps everything easy, clearly draws the phrases in detail, and has the bow in the big picture.
One can doubt the casting of the baritone: Adrian Eröd comes up with subtle diction, but full-bodied sensuality and the courage to exalt are not necessarily his thing. Instead, Levy Sekgapane, standing in for Michael Heim, lets the fried swan swim in the fat with a glistening tenor. And for the third part, not only does the well-coordinated children’s choir of the Staatstheater am Gärtnerplatz come along, but above all Jodie Devos. The Belgian has exactly the soprano that is needed: secure in the tricky transition, easy in the highest register, a voice that sounds innocent, but shimmers and flickers promisingly. Next Sunday there will be another opportunity to hear the Philharmoniker under the open sky, hopefully also without rain, at Klassik am Odeonsplatz. After that, the orchestra can also enjoy the summer.