Rossini Petite Messe Solennelle Concert November 2024
On November 9 th , Romsey Choral Society presented Rossini’s Petite Messe Solennelle in Romsey Abbey. Conducted by their Director of Music, Richard Pearce, and accompanied by Iain Farrington (piano) and Richard McVeigh (harmonium), the 80-strong choir opened with the Kyrie of the Mass. Throughout the movement, the choir demonstrated both admirable versatility of style and pinpoint accuracy of timing and pitch.
Joining the choir for the second movement of the Mass, the Gloria, was a quartet of outstanding professional soloists, all postgraduate opera students of the Guildhall School of Music and Drama in London and supported by the Josephine Baker Trust. Impressive individually for their energized and lyrical voices, they also made an exceptional team when singing together. A particular highlight was the delightful duet “Qui tollis” which showcased the mellifluous voices of the soprano and the mezzo-soprano. Concluding the Gloria was the energetic extended fugue, “Cum Sancto Spiritu”, which the choir performed with great assurance and enjoyment. The Credo saw soloists and choir combine in a fervent affirmation of faith and hope. The soprano poignantly and delicately sung aria “Crucifixus” being the only punctuation in the choral texture. Another stunning fugue from the choir prefaced a change of mood and pace for the remaining movements.
The quality of the vocal performances in this concert in no way diminished the vital contributions of the accompanists and conductor. Iain Farrington played a subtle but firmly supportive role throughout, except in the first and last movements where his virtuoso keyboard skills shone as critical elements of the narrative. The harmonium fulfilled a different yet complementary role, and Richard McVeigh demonstrated his mastery of this complex instrument throughout. Keeping a firm hand on the tiller at all times was Musical Director Richard Pearce, whose thorough preparation of the choir and secure management of the many changes of tempi, dynamics, mood and ensemble during the performance sustained the audience’s belief that they were, indeed, watching an opera. No doubt Rossini would have approved.
Review of RCS Concert – Petite Messe Solennelle by Kath Tilling
Joining the choir for the second movement of the Mass, the Gloria, was a quartet of outstanding professional soloists, all postgraduate opera students of the Guildhall School of Music and Drama in London and supported by the Josephine Baker Trust. Impressive individually for their energized and lyrical voices, they also made an exceptional team when singing together. A particular highlight was the delightful duet “Qui tollis” which showcased the mellifluous voices of the soprano and the mezzo-soprano. Concluding the Gloria was the energetic extended fugue, “Cum Sancto Spiritu”, which the choir performed with great assurance and enjoyment. The Credo saw soloists and choir combine in a fervent affirmation of faith and hope. The soprano poignantly and delicately sung aria “Crucifixus” being the only punctuation in the choral texture. Another stunning fugue from the choir prefaced a change of mood and pace for the remaining movements.
The quality of the vocal performances in this concert in no way diminished the vital contributions of the accompanists and conductor. Iain Farrington played a subtle but firmly supportive role throughout, except in the first and last movements where his virtuoso keyboard skills shone as critical elements of the narrative. The harmonium fulfilled a different yet complementary role, and Richard McVeigh demonstrated his mastery of this complex instrument throughout. Keeping a firm hand on the tiller at all times was Musical Director Richard Pearce, whose thorough preparation of the choir and secure management of the many changes of tempi, dynamics, mood and ensemble during the performance sustained the audience’s belief that they were, indeed, watching an opera. No doubt Rossini would have approved.
Review of RCS Concert – Petite Messe Solennelle by Kath Tilling
Midsummer Shakespeare Concert 6th July 2024
Lovers of Shakespeare were in for a treat and a few surprises at Romsey Choral Society's summer concert at St Cross Church, Winchester, on Saturday 6th July. Inspired programme planning by Musical Director Richard Pearce gave the fascinated audience a whistle-stop tour of no fewer than 12 of Shakespeare's plays, as well as a nod to his poetry and that of his contemporaries: Christopher Marlowe, Thomas Nashe, John Fletcher and Robert Johnson.
The selection of texts and musical settings for "Midsummer Shakespeare" had been made carefully. Common themes of romantic love, magic and mysticism and the innocent beauty of nature were juxtaposed with contrasting tales of everyday woes and illicit relationships, reminding us that, in his works, Shakespeare commentates on all aspects of humanity, be they joy or tragic, ethereal or mundane, rational or absurd. In some cases, more than one setting of a text was included, demonstrating the delicate interplay between words and music in conveying - and sometimes misrepresenting - meaning.
The concert opened with Anglo-American composer Sir George Shearing's suite of "Songs and Sonnets" (1999), an upbeat tongue-in cheek collection of seven ditties, featuring the words of some of Shakespeare's more colourful characters, including Autolycus, the thieving vagabond in A Winter's Tale, Touchstone, the jester in As You Like It and Mistress Quickly, the innkeeper in The Merry Wives of Windsor. Deftly accompanied on piano by Richard McVeigh, the choir skilfully negotiated fast tempos, rich harmonies, complex jazz rhythms and getting their tongues around the Elizabethan text at high speed. A moment of exquisite beauty came with the fifth movement, "Who is Silvia" from The Two Gentlemen of Verona. In contrast with the other movements, this is a hymn-like love song, characterised by a restrained tempo, smooth transitions and consonant harmonies. It is only the dramatic context of intended infidelity which suggests ot the listener that this delicious outpouring of emotion is merely Shakespeare being ironic.
Recurrent themes were explored through programming similar pieces by several composers. Wil Todd's take on "It was lover and his lass" (2016) from As You Like It emulates Shearing's version, with its joyous mood, but there the resemblance ends. Todd's version is more lyrical and melodically driven, using key changes and a flowing piano accompaniment to reflect the powerful, fi transitory, romantic influence of springtime. For completeness, the programme included Thomas Morley's 1599 madrigal version of the same text and, with three utterly charming and equally convincing performances, the audience was left contemplating which to choose as their personal favourite.
Sarah Quartel's 2015 setting of "I know a bank where the wild thyme blows" from A Midsummer Night's Dream is a gentle and fanciful description of Titania, Queen of the Fairies, sleeping peacefully in a divine woodland glade, oblivious to the fact that she has been put under a spell following a quarrel with her husband, King Oberon. The choir, with its measured and lyrical vocal lines, supported by a hypnotic piano accompaniment, perpetuates this deceit. In contrast, in his 2017 piece "The Bird of Dawning", Bob Chilcott reflects a more resistant stance to the threat of evil, with text from Hamlet suggesting that the eponymous bird sings al night on Christmas Eve, to welcome Christ and banish evil spirits. This glorious a cappella setting showcased the tight ensemble and blend of the choir; its soaring solo line, representing the bird's song, delivered sweetly and confidently by soprano Linda Stafford.
An interesting inclusion ni the programme was Robert Gower's 1997 arrangement for organ of William Walton's 1944 film score for Henry V. One of the movements from this suite, "Touch her soft lips and part", arranged for unaccompanied mixed voice choir by Bob Chilcott, featured in the second half of the concert; its unsupported interlocking of sinuous and expressive vocal lines conveying a strong sensation of high romance equal to its organ counterpart heard earlier.
Distinct from the buoyancy of previous items, Ivor Gurney's "Five Elizabethan Songs", arranged for choir by lain Farrington in 2015, took us back to the harsh era of the first world war. This sequence of songs takes the listener on an emotional journey throgh the states of innocence, optimism, realism, suffering and - ultimately - peace; stages reflecting the labile and uncertain national mood of the time. Imbued with deep passion, the melancholic flavour of this song cycle was captured beautifully by conductor Richard Pearce and translated sensitively by the choir and accompanist.
Richard then stepped down from the podium to play a glorious contrasting piano medley of Gershwin numbers before the concert concluded with a lively selection of songs from 'West Side Story', Leonard Bernstein's stage musical of 1957, inspired by Shakespeare's Romeo and Juliet, a fitting finale ot this highly entertaining and enjoyable tribute to our national bard.
Kath Tilling
J.S. Bach St John Passion - March 2024 in Romsey Abbey
Review: JS Bach’s St John Passion, Romsey Abbey, 23rd March 2024
Romsey Choral Society’s Lenten concert, which took place in the majestic surroundings of Romsey Abbey on the eve of Palm Sunday, was a triumph on every level. Sung in German, this performance of JS Bach’s St John Passion – the Easter story according to the Gospel of John – took place almost 300 years to the day after its premiere in St Nicholas’ Church, Leipzig. Under the expert guidance of Musical Director Richard Pearce, soloists, choir and orchestra collaborated to bring to life a glorious rendition of this giant amongst choral works, to the evident delight of a large and appreciative audience.
Romsey Choral Society’s Lenten concert, which took place in the majestic surroundings of Romsey Abbey on the eve of Palm Sunday, was a triumph on every level. Sung in German, this performance of JS Bach’s St John Passion – the Easter story according to the Gospel of John – took place almost 300 years to the day after its premiere in St Nicholas’ Church, Leipzig. Under the expert guidance of Musical Director Richard Pearce, soloists, choir and orchestra collaborated to bring to life a glorious rendition of this giant amongst choral works, to the evident delight of a large and appreciative audience.
Accompanied by the outstanding Monteverdi String Band, a consort which specialises in the music of the 17th century and uses authentic period instruments, the 80-strong choir opened in assertive style with the declamatory “Herr, unser Herrscher” (“Lord our ruler”), navigating the complex counterpoint and relentless semiquaver passages with metronomic accuracy, whilst asserting with great conviction that Jesus was indeed the Son of God. The choir, which alternated between representing a jeering crowd of non-believers and Christ’s followers, succeeded in characterising both groups convincingly. At one moment, mocking interjections – signalled by furious and tortuous vocal lines – would be delivered with immaculate timing and alarming fervour; the next, the mood would change completely, as a gentle and melodic chorale reminded us of the significance of the crucifixion to Christian faith. The musical and interpretative skills of the choir were excellent throughout, as was their mastery of some challenging German text. Worthy of particular mention were the frenzied, vitriolic pleas to crucify Jesus (“Kreuzige, kreuzige“ and “Weg, weg mit dem”) and, in complete contrast, the hauntingly beautiful final chorus “Ruht wohl”, in which the choir prayed with heart-wrenching intensity for Jesus’ soul and the salvation of all humanity.
Sharing the stage was a team of six professional soloists, led by Baroque oratorio expert Christopher Bowen, who, as the Evangelist, narrated the story of Jesus’ betrayal, arrest, crucifixion and death. With the timbre of his lyrical tenor voice commanding instant attention, he gauged carefully his pace of delivery to bring constant colour and drama to the text.
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Bass James Emerson, as Jesus, showed great maturity in the role and navigated effortlessly intricate dialogues with the Evangelist and Pontius Pilate (bass Oliver Bowes). Completing the soloist team were soprano Susanna Davis, alto Angelina Dorlin-Barlow and tenor James Edgeler, who, along with James and Oliver, are postgraduate choral scholars at the Royal College of Music and the Royal Academy of Music and are at the outset of their professional careers. Notable highlights of their contributions included Susanna’s delightfully uplifting and inspiring aria “Ich folge dir” (“I follow you”) as Jesus is arrested and interrogated, accompanied by his disciple Peter; James’ soul-searching “Ach mein Sinn” (“Oh my soul”) in which he agonises over how his sins will be forgiven, now that Jesus has been denied three times by Peter; Angelina’s powerful acclamation “Es ist vollbracht” (“It is accomplished”), where despair at Jesus’ death gives way to joy that ‘‘the hero battles on with might’’ and Oliver’s euphoric response “Mein teurer Heiland” (“My beloved Saviour”) in which he affirms allegiance to the crucified Christ, now that he has received redemption.
For almost two hours, the soloists, choir and orchestra interplayed seamlessly, transporting the enthralled audience along a roller-coaster of emotions as the theatre unfolded. A remarkable occasion, it served as a fitting memorial to David St John, a greatly missed former member of Romsey Choral Society, whose generous bequest to the choir, together with financial support from the Josephine Baker Trust, had assisted with the funding of the concert.
Kath Tilling
25.03.2024
Kath Tilling
25.03.2024