As the first movement of the Harvard-Radcliffe Orchestra (HRO) “A Night of Strauss” performance concluded, a lonely, misplaced clap from an enthusiastic concertgoer echoed through Sanders Theater. Clapping between movements is commonly frowned upon, but this spectator evidently lost themselves in the music. They weren’t the only one.
O[1] ffstage trumpet fanfare battled the onstage orchestra. Renowned opera singer Liv Redpath ’14, who has sung at the MET Opera and Royal Opera House, dazzled centerstage in her sparkling, floor-length red gown. Dramatic drums punctuated Redpath’s beautiful soprano voice, drawing listeners into the night of musical adventure that was HRO’s September 30 Season 216 Opening Concert.
The concert began with Richard Strauss’s Brentano Lieder, Op.68. Six movements, inspired by the romantic poems by Clemens Brentano, took the audience on an emotional rollercoaster.
The first movement, “An Die Nacht,” or, “In the Night,” captured the tenseness and fear of the dark. Fittingly, the following movement, “Ich Wolt ein StrӓBlein Binden,” or “I would have made a bouquet”, captured regret and loneliness. The third, fourth, and fifth movements, “Säus’le, liebe Myrte!,” “Als mir dein Lied erklang,” and “Amor” were love songs, tailor-made for a clear, light soprano. It was in the third movement where the orchestra quiets, and concertgoers can hear Redpath’s voice the clearest. The sixth and final movement, “Lied ede Frauen,” translated to “when the men are at war,” was slightly more stormy and dramatic, foreshadowing, perhaps, the next piece, where Strauss’s hero goes to war against his enemies.
After a brief intermission, the orchestra began Ein Heldenleben (A Hero’s Life), Op. 40. Throughout the six movements, the orchestra illustrated the highs and lows of a hero’s lif[2] [3] e: his lover, adversaries, and battles. Trumpet fanfare blared from behind the stage, signaling confrontation between the hero and his enemies. The orchestra depicted turbulent emotion: love, war, loss, and peace. HRO Trombonist Izhaan Ahmed ’27 said, “Ein Heldenleben was extremely dynamic. I think it showcased so many instruments very well. It was a beautiful piece. People really got their time to shine.”
Nicholas Lee ’25 explained how the HRO chose its distinct theme of “Night of Strauss?” “[The theme] is informed by what our conductor [Frederico Cortese] thinks, and what our music director thinks. Within the realm of things that they present, we vote on it.”
With outsiders paying $20 a ticket, Harvard affiliates should take advantage of their free entry to such high-caliber performances.
Pulling off such a performance merely a few weeks into the school year represents no small feat.“We had about four weeks [to prepare] … they were extremely intensive,” said Ahmed. Tubist Rebecca Hirschfeld ’27 explains, “For the month of September we’ve rehearsed for like nine hours a week.” As for preparing to perform with Redpath, Ahmed said, “We had … maybe like two and a half rehearsals [with her].”
What’s the trick to master such a quick turnaround? Auditions start as soon as possible. “I had to sign up for an audition slot the first week of August… I had to be on top of it. Auditions were like the first three days of being on campus,” said Hirschfeld.
Expectations of musical skill are also at an all-time high: HRO musicians exhibit a lifelong dedication to their craft. Violinist Stephanie Yoshida ’25 said, “I played pretty rigorously in high school. I played in my school orchestra. I played in my youth orchestra. I took private lessons and I was in chamber music.” Nicholas Lee ’25 echoed this sentiment. “[Music] was my primary extracurricular when I was in high school.”
HRO’s hard work certainly paid off. “We had a really big turnout in turns of audiences. I was really happy with how successful it was,” Yoshida said. The orchestra has an exciting year ahead, full of opportunities to continue impressing: HRO has an upcoming tour in South Korea and has three more shows this year. Students have free admission, and this privilege is one that should be taken advantage of.
Sophie DePaul ’27 (sophie_depaul@college.harvard.edu) was forced to play the flute throughout middle and high school.
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what hero? what are the highs and lows?
The hero is unnamed. its just the idea of a hero archetype.