|
Recent reviews
|
|
| THE DREAM OF GERONTIUS - Elgar Saturday, 21st June 2008 The Chichester Singers, Southern Pro Musica orchestra and the three magnificent soloists can be justifiably proud of their exceptional performance of The Dream of Gerontius which was enthusiastically received by their Chichester Cathedral audience. In this performance of
operatic proportions of Elgar's masterpiece, Jonathan Willcocks's direction was
second to none for its balance, blending and sheer musical brilliance. The Dream of Gerontius
is based on Cardinal Newman's poem and tells of the process of dying, and the
journey of man's soul through purgatory. Justin Lavender was
magnificent as Gerontius, admirably capturing all aspects of human behaviour
from doubts, fear and anger to finally accepting the inevitable judgement as
Gerontius passes into physical death. Elgar makes great demands on his
tenor soloist and Justin Lavender's huge operatic voice easily rose to these
demands. VAUGHAN WILLIAMS - Four Hymns for Tenor and Viola MOZART - Credo Mass, K257 JONATHAN WILLCOCKS - A Great and Glorious Victory Sunday, 9th March 2008 Jonathan Willcocks's exciting new orchestral and choral work, A Great and Glorious Victory, was an immediate success with his Chichester Cathedral audience. Using contempora;ry accounts, familiar hymns and the words of the Latin Requiem Mass, Willcocks skilfully directed the Chichester Singers and the Southern Pro Musica to produce a dramatic musical account of history. Without detracting from Nelson's historic Trafalgar victory, Willcocks's view of one of Great Britain's greatest moments emphasises the importance of the victory for humanity when faced by the greater forces of nature. The Southern Pro Musica was brilliant throughout and excelled with their magnificent atmospheric interpretation of the ferocious storm which followed the battle. The 'cellos and double basses realistically created the mighty rolling waves and terrifying wind. Conducted by the composer, the superb musicianship of the trumpets, timpani and percussion ensured this was an outstanding musical experience. The enthusiastic versatility of the renowned Chichester Singers was displayed to the full in this very varied work. The Singers' powerful but sensitive approach to the words reminded me why this choir is so well respected. Equally worthy of note was the Chichester Singers' performance of Mozart's Credo Mass - a jubilant and crisp version of this joyous mass. A first-rate line of soloists included Laura Mitchell (soprano), Lucie Spickova (contralto), James Oxley (tenor) with a welcome retun from Czech bass Vojtech Safarik. Whether singing as soloists or as a quartet, they were excellent. Graham Hewitt, The Chichester Observer
HANDEL - Messiah Saturday, 8th December 2007 For me, the Christmas season really has begun once I have heard the country's favourite oratorio, Messiah, by Handel. This year's Chichester Cathedral performance was exceptional in every way. Jonathan Willcocks (conductor) encouraged the orchestra and singers to give a superbly radiant performance. It was obvious that it was his empathy with the music that was the driving force throughout. The Chichester Singers are a well-disciplined choir with strong voices in all registers, who were equal to all the demands of this magnificent masterpiece. All the choruses were fresh, dynamic and gripping and complemented the first-rate team of soloists. Particularly impressive was the young Australian bass, Christopher Tonkin, who sang with dramatic authority. In the recitative Darkness Shall Cover the Earth, he produced a haunting and dramatic atmosphere. In contrast, the girlish simplicity of the beautiful and clear tone of soprano Sadhbh Dennedy singing the air I Know that my Redeemer Liveth displayed angelic purity. The rich contralto voice of Rosie Aldridge was perfect in the air He was Despised, which she sung with profound feeling. This was a very moving, intense and measured performance. The triumphant and exuberant Hallelujah chorus was, of course, the highlight of the performance, with the Chichester Singers displaying once again their supremacy. With the sustained applause and audible enthusiasm from the packed Cathedral audience, it is obvious that the Chichester Singers should automatically take part in the Chichester Festivities. It beggars belief that the Festivities organisers and the Chichester Singers can't find a compromise to make this possible. Graham Hewitt, The Chichester Observer
MORTEN LAURIDSEN - Lux Aeterna Saturday, 10th November 2007 The Chichester Singers and Southern Pro Musica excelled in their radiant, commanding interpretation of Morten Lauridsen's challenging work Lux Aeterna. Jonathan Willcocks drew from the choir and orchestra a superb performance. They captured the powerfully-uplifting and strong emotional pull of the American composer's five-movement non-liturgical requiem. The work is in the great choral tradition of the requiems of Fauré, Brahms and Duruflé. Singing with passionate intensity, the choir rose easily to the challenge of his difficult and complex work of great depth and substance. Lux Aeterna (Perpetual Light) explores the human spirit seeking mercy, understanding, consolation and renewal. With no solos, the work makes continual demands on the singers. In the first movement, Introitus, the Chichester Singers beautifully reproduced the style of medieval and renaissance music. In the centrepiece, O Nata Lux (O Born of Light) the Singers gave pure vocal sound in the unaccompanied motet which was movingly beautiful. Full praise to the Chichester Singers for introducing us to this little-known work and who were perfect in their balance, harmony and dramatic style. Graham Hewitt, The Chichester Observer _______________________________ BRAHMS - A German Requiem Saturday, 7th July 2007 This was the radiant Chichester Singers at their strong and inspired best. Firmly in control, Jonathan Willcocks drew a dramatic and intense performance of Brahms' musical masterpiece, the German Requiem, from both the Singers and the Southern Pro Musica. He ensured that this music of immense beauty and consolation was delivered as intended by the composer. With only three solos, it is an exceptionally demanding work for the choir and the Chichester Singers triumphantly succeeded with their consistently faultless performance. The words are vital to the success of this Requiem and the Singers conveyed the emotion, understanding and profound meaning. Willcocks developed the seven movements of the work, which assured that hope and salvation would replace the terrifying fear of pointless ultimate death. Under his direction the choir emphasised the comfort, joy and victory over death, rejecting the horrors of Judgement Day. The choir and orchestra jubilantly developed the joy and relief of the Requiem's message in their tumultuous strength of the singing and orchestral accompaniment. The Requiem was just one of the three examples of the music of Brahms in this exceptional concert. The other two, the Academic Festival Overture and the Song of Destiny, were equally well performed and memorable. Graham Hewitt, The Chichester Observer __________________________________________ HAYDN - Maria Theresa Mass and DURUFLÉ - Requiem Saturday, 4th November 2006 CAPTIVATING AND MEMORABLE CONCERT The combination of the Southern Pro Musica at its most expressive and the distinguished Chichester Singers produced a captivating and polished concert. Enhanced by a first-rate team of soloists, the choir and orchestra gave a performance of Joseph Haydn's Maria Theresa Mass which conveyed a mood of confident optimism. It was both spirited and sensitive, with many exciting choral climaxes. With total mastery of the complexity of this work, Jonathan Willcocks (Conductor) ensured that the orchestral detail was superbly realised against the choir's full-bodied and incisive singing. The Mass gave ample opportunity for the soloists: Elodie Kimmel (soprano), Rosie Aldridge (contralto), Nathan Vale (tenor) and Vojtech Safarik (bass) to demonstrate their professionalism. The solo voices complemented each other perfectly with an amazing balance of sound and harmony. Equally impressive was the choir and orchestra's interpretation of Maurice Duruflé's Requiem. This more gentle work was sung with compelling sensitivity, giving a richness and immediacy to the performance. The extensive solo parts were sung by Rosie Aldridge (contralto) and Vojtech Safarik (bass), who were ideally matched, bringing intensity and religious fervour to this beautiful work. Matched totally by the purity and beauty of the choral singing, this was an outstanding end to the memorable concert. Graham Hewitt, The Chichester Observer ___________________________________ REQUIEM - Verdi - Saturday, 8th July 2006 AN UNFORGETTABLE PERFORMANCE The performance of Verdi's mighty affirmation of Christian faith, the Requiem, was an unequalled success in this Festivities concert. In the work of extreme demands, from the tumultuous Dies Irae to the almost inaudible closing words of Libera Me, the choir's contribution was worthy of the highest praise. The interpretive mastery of Jonathan Willcocks (conductor) inspired the singers to give a supreme performance, easily reaching and sustaining the choral heights throughout. Equally, Willcocks maintained the intensity and fervour of the orchestra since this work demands both orchestral and choral brilliance. The famous Dies Irae with Southern Pro Musica's spectacular use of the bass drum was overwhelmingly exciting, with the choir and orchestra convincingly portraying the anger and terror of the awful day of judgement. The strong team of soloists could not have been bettered and the matching of their voices was ideal. Individually they were all distinguished, whether singing alone or as a quartet. Jeremy White's powerful and impressive bass voice excelled in the solo Tuba Mirum, which dramatically told of death and resurrection. In the tenor solo Ingemisco, Robert Johnston passionately implored the Almighty for forgiveness and pity. Claire Seaton (soprano) beautifully embraced the great space of the Cathedral singing the solo in Libera Me. With total serenity and confidence, using the eloquence of her vocal delivery, she sang of Christian promise of deliverance from death. Joined by the exquisite singing of Emily Bauer-Jones (mezzo-soprano), the soloists sang an inspirational interpretation of the Kyrie Eleison, which was eloquently sensitive and beautifully phrased. The conductor, soloists and choir were in total harmony throughout and thoroughly attuned to the sensitivity and dramatic quality of this amazing work, making it an unforgettable performance. Graham Hewitt, The Chichester Observer __________________________________________ BELSHAZZAR'S FEAST - Walton Concert at Portsmouth Guildhall - Sunday, 26th March 2006, with Portsmouth Choral Union. Soloist: Sir Willard White PASSIONATE, SCINTILLATING PERFORMANCE The Chichester Singers joined the Portsmouth Choral Union in a superb concert of dramatic choral music on a mammoth scale. More than 200 singers from the combined choirs gave a stupendous performance of William Walton's resounding Belshazzar's Feast at Portsmouth Guildhall. This was a passionate and intense interpretation expertly delivered with great clarity and atmosphere. The choirs complemented each other with their fresh and scintillating delivery. They excelled in the beautiful chorus By the waters of Babylon, which was gentle and emotive. Conducted by Jonathan Willcocks, the Southern Pro Musica accompanied the choirs with zest and sophistication and, although every section of the orchestra was exceptional, it was the timpani who really shone in Belshazzar's Feast. He superbly achieved the exact balance between the choirs, orchestra and soloist, making this a truly memorable concert. The orchestra was ably augmented by the professional playing of 14 young musicians from the Hampshire County Youth Orchestra placed in the dress circle of the Guildhall. Star of the evening was Sir Willard White (bass-baritone) whose exquisite voice resonated through the Guildhall. Although the soloist in Belshazzar's Feast, he sang only three spirituals in his solo contribution and left us wanting more. The depth of feeling and emotion in his version of Deep River was unsurpassed. A dynamic and powerful version of the overture Cockaigne achieved all that Sir Edward Elgar could have wished when composing this rousing and exciting work. Jonathan Willcocks' imaginative use of the brass section filled the music with sparkle, colour and pageantry. Graham Hewitt, The Chichester Observer ______________________________________________ ELGAR - The Apostles Sunday, 3rd July 2005 Chichester Cathedral hosted a stunning performance of one of Edward Elgar's lesser-known works, The Apostles, on Sunday evening. This oratorio, composed in 1903 for the Birmingham Festival, is more heavyweight than many of Elgar's works and definitely demands the audience's concentration from the outset as it deals with themes of guilt, betrayal, trust and belief through the musical setting of biblical texts. The solo performances were excellent and bass Jeremy White was a wonderful Judas, whose soul is guilt-ridden after betraying Jesus (Philip Salmon). Some of the work's best music arises from the role of Judas accompanied by strong orchestral motifs which are meant to unnerve rather than calm the audience. Jane Harrington and Emily Bauer-Jones both gave fine performances, fusing into their roles as Mary, Mother of Christ and Mary Magdalene, strongly supported by the Southern Pro Musica orchestra. The first half, though having some good lyrical moments, was overwhelmingly ridden with despair and anguish. The second half is more abating as it deals with the ascension of Christ, with the Chichester Singers providing a heavenly chorus. There is plenty in this piece to enjoy, but the rewards come after effort and this work definitely requires more than one listening to appreciate it fully. Clare Hawkin, The Chichester Observer
J S BACH - Magnificat and W A MOZART - Mass in C minor Saturday, 6th November 2004 Choir impresses in difficult programme The programme for The Chichester Singers' opening concert of their 2004/5 programme in Chichester Cathedral was a demanding one, coupling J S Bach's Magnificat with Mozart's 'Great' Mass in C minor. There were five excellent young soloists - Kishani Jayasinghe and Jane Harrington (soprano), Julia Riley (contralto), Michael McBride (tenor) and Robert Anderson (bass) - all post-graduate Royal Academy students on the opera course. While Bach's festive Magnificat is part of the standard choral repertoire, it is perhaps better suited to a smaller choir in a less resonant acoustic. From the rear of the nave much of the detail of the intricate choral writing was lost, though there were some fine moments in the majestic opening chorus, much robust singing in Fecit potentiam and clear fugal entries in Sicut locutus est. The beautifully poised singing of Julia Riley in the gently lilting Esuriantes was a particular delight. Mozart's Mass in C minor, although unfinished like his Requiem, is a massive work with a vast emotional range in which huge choruses are interspersed with solos which are overtly operatic rather than liturgical. The soloists for this work were well chosen, there was exhilarating singing from Jane Harrington in the Laudamus te and Kishani Jayasinghe was admirable in the sublime Et Incarnatus, while their duet Domine Deus was a tour de force. The Southern Pro Musica accompanied well and, as always, the woodwind department was superb. Mr Willcocks conducted with his usual brand of inspirational authority and the large audience was most appreciative. Tim Bastow, The Chichester Observer _________________________________________________ In March 2004 we performed a new work specially commissioned for the choir, following the receipt of a legacy from one of our former members, Zoe Fowler. The following review appeared in the Chichester Observer: MALCOLM ARCHER - Veni, Creator Spiritus DVORAK - Mass in D Saturday, 20th March 2004 Mr Archer would have been delighted The Chichester Singers' concert programme featured three works - Malcolm Archer's newly commissioned Veni, Creator Spiritus and Dvorak's Mass in D as the choral items, with Mozart's Violin Concerto no. 5 as the orchestral filling in the sandwich. Veni, Creator Spiritus is an approachable modern work with something of the feel of a pastoral mid-20th century pastiche. Mr Archer would have been delighted with the performance, in which the choir sang with obvious enjoyment and great sensitivity. Dvorak's Mass in D is a much slighter work than his Stabat Mater or Requiem. It nevertheless lacks nothing in spirituality and is a tuneful and enjoyable work in which the Singers revelled in the luscious harmonies. The first performance of any work is an exciting occasion, and it is sad to note that some regular patrons were absent - they missed an excellent concert ! Tim Bastow, The Chichester Observer
HANDEL - Messiah Saturday, 6th December 2003 A SUPERB MESSIAH
At the outset it must be said that this performance was of the finest quality – good enough to grace any cathedral or concert hall – to the extent that any criticism is of the nit-picking variety! The balance between the chorus and small orchestra was good and under the vigilant and inspirational direction of Jonathan Willcocks, the choir sang well producing a fine weight of tone and good attack in Surely he has borne our grief, delicate and well articulated runs in Unto us a child is born, and And he shall purify with well-sustained soft singing in Since by man came death. The pick of the four excellent soloists were Darren Jeffery (Bass) and Emily Bauer-Jones (Alto). Mr Jeffery has a magnificent wide-ranging voice with a physical presence and personality to match - he must surely be an international star in the making. Miss Bauer-Jones’ voice is not so large but she has a lovely unforced lyrical tone used with consummate artistry and intense musicality. Both of them share the invaluable gift of being able to interact with an audience, a facility which Bibi Heal – the technically superb Soprano - has yet to acquire. It is a sad comment on the transient appeal of many of today’s musical offerings, that some 261 years after its composition, performances of “Messiah” still have the ability to move an audience to such appreciative applause. Roll on the Chichester Singers’ next Messiah! Tim Bastow, The Chichester Observer |