Rachmaninoff's Vespers - 8th November 2025
All-Night Vigil of the Russian Orthodox Church, set by Sergey Rachmaninoff
10 out of 10 (not a mark I often give) to the RCS for their ambition in tackling this stunning work, surely in the same great liturgical/dramatic heritage as Bach’s B minor Mass, Verdi’s Requiem, and more recently perhaps Britten’s War Requiem. Eminent company indeed, but this pre-revolutionary (1915) setting is acknowledged as the pinnacle of the Russian Orthodox tradition.
What is that tradition? Solemnity, ritual, chant, reverence, and deep humility somehow infused with transcendent glory. And, yes, theatricality. All proclaiming the utter certainty of the Christian Faith and underpinned (literally) by the resonance of the deep bass register that seems to represent the mystic soul of ancient Russia.
The challenge for an English choir is stark, and compounded by the fact that it’s multi-part, in Russian, and a capella, with no place for anyone to even think of hiding.
No pressure then. So, how did they do?
Reader, I was blown away. As were people I spoke to in the interval and afterwards. It may have been (must have been) unusually hard work for everyone involved but the outcome was one of the best things this group has done.
We knew we were in good hands from the start – the attack on that first invocation Priidite, followed by the rock-solid undertow of tenors and basses in Psalm 104 throwing the upper voices into such clear-but-delicate focus. We could, and did, relax as the wonderful space
that is Romsey Abbey reflected the religiosity, grandeur, emotion, and dignity of this unique and extraordinary sound-world.
Tenor Peter Davoren particularly brought out the sense of awe and mystery at the forefront of Orthodox worship, but the quiet star of the evening was surely conductor Richard Pearce. His control of pace, vocal colour, and above all dynamic variation (so essential in an all-night Vigil) was outstanding. The crescendo then diminuendo in ‘Blessed is the man’ was breathtaking but somehow seemed to happen naturally and without strain. Pearce resisted all temptation (and there is plenty) to exaggerate or overcook. The art is to conceal the art, indeed.
Reviewed by Chris Amery
10 out of 10 (not a mark I often give) to the RCS for their ambition in tackling this stunning work, surely in the same great liturgical/dramatic heritage as Bach’s B minor Mass, Verdi’s Requiem, and more recently perhaps Britten’s War Requiem. Eminent company indeed, but this pre-revolutionary (1915) setting is acknowledged as the pinnacle of the Russian Orthodox tradition.
What is that tradition? Solemnity, ritual, chant, reverence, and deep humility somehow infused with transcendent glory. And, yes, theatricality. All proclaiming the utter certainty of the Christian Faith and underpinned (literally) by the resonance of the deep bass register that seems to represent the mystic soul of ancient Russia.
The challenge for an English choir is stark, and compounded by the fact that it’s multi-part, in Russian, and a capella, with no place for anyone to even think of hiding.
No pressure then. So, how did they do?
Reader, I was blown away. As were people I spoke to in the interval and afterwards. It may have been (must have been) unusually hard work for everyone involved but the outcome was one of the best things this group has done.
We knew we were in good hands from the start – the attack on that first invocation Priidite, followed by the rock-solid undertow of tenors and basses in Psalm 104 throwing the upper voices into such clear-but-delicate focus. We could, and did, relax as the wonderful space
that is Romsey Abbey reflected the religiosity, grandeur, emotion, and dignity of this unique and extraordinary sound-world.
Tenor Peter Davoren particularly brought out the sense of awe and mystery at the forefront of Orthodox worship, but the quiet star of the evening was surely conductor Richard Pearce. His control of pace, vocal colour, and above all dynamic variation (so essential in an all-night Vigil) was outstanding. The crescendo then diminuendo in ‘Blessed is the man’ was breathtaking but somehow seemed to happen naturally and without strain. Pearce resisted all temptation (and there is plenty) to exaggerate or overcook. The art is to conceal the art, indeed.
Reviewed by Chris Amery
Renaissance Masterpieces - July 2025
A whole programme of 16th and 17th century sacred music can tax select chamber choirs and is rarely the domain of larger choral societies and their audiences. Yet some 70 members of Romsey Choral Society engaged positively with a receptive number of listeners to their Summer concert. This was successful for a variety of reasons. They chose the appropriate ambience of Winchester’s St Cross Church with a near perfect acoustic for this music. The
repertoire selected was varied in pace and choral textures with each half framed by movements from Palestrina’s Missa Brevis. And, avoiding the challenges of exposed tuning demands in unaccompanied pieces, judicious use was made of continuo-style organ support in certain items.
The latter included the futuristic harmonies of a 1603 Responsory by Gesualdo and the chromatic lines of Monteverdi’s 1620 Christe, adoramus te. The choir was able to range from warm pianissimo singing to powerful dynamic passages in Schutz’s 6-part motet Selig sind die Toten published in 1648 and its well-balanced ensemble was evident in all of the Palestrina excerpts as well as two beautiful unaccompanied motets by Victoria.
Conductor Richard Pearce planned the sequence of items and gently guided the voices throughout. Metre changes in Gabrieli’s joyous Jubilate Deo were managed effortlessly. The organ support was provided by R.C.S. accompanist Richard McVeigh who also contributed three interesting ‘early’ organ solos: a Bach trio sonata movement, a charming echo fantasia by Dutchman, Jan Sweelinck and a bright prelude and fugue by Buxtehude.
Reviewed by Derek Beck
repertoire selected was varied in pace and choral textures with each half framed by movements from Palestrina’s Missa Brevis. And, avoiding the challenges of exposed tuning demands in unaccompanied pieces, judicious use was made of continuo-style organ support in certain items.
The latter included the futuristic harmonies of a 1603 Responsory by Gesualdo and the chromatic lines of Monteverdi’s 1620 Christe, adoramus te. The choir was able to range from warm pianissimo singing to powerful dynamic passages in Schutz’s 6-part motet Selig sind die Toten published in 1648 and its well-balanced ensemble was evident in all of the Palestrina excerpts as well as two beautiful unaccompanied motets by Victoria.
Conductor Richard Pearce planned the sequence of items and gently guided the voices throughout. Metre changes in Gabrieli’s joyous Jubilate Deo were managed effortlessly. The organ support was provided by R.C.S. accompanist Richard McVeigh who also contributed three interesting ‘early’ organ solos: a Bach trio sonata movement, a charming echo fantasia by Dutchman, Jan Sweelinck and a bright prelude and fugue by Buxtehude.
Reviewed by Derek Beck
Handel's Saul Concert March 2025
Romsey Choral Society has attracted praise for tackling challenging, large scale works and championing lesser known choral repertoire; a reputation upheld by their recent concert in Romsey Abbey, when the 75-strong choir, conducted by Musical Director Richard Pearce, was joined by a quintet of professional soloists and the renowned Monteverdi String Band for a rare live performance of Handel’s oratorio, Saul.
Saul marked Handel’s first collaboration with librettist Charles Jennens, who, just four years later would provide the text for his beloved masterpiece, Messiah. With words taken from the first book of Samuel, the story tells of the first King of Israel’s relationship with his successor, David; a progression from admiration, through envy to hatred, ultimately leading to the downfall of both Saul and his son Jonathan.
The work opens in declamatory style, with a chorus of Israelites raising their voices to God in thanksgiving for David’s victory over the Philistine giant, Goliath. A series of colourful choruses, culminating in a lusty “Hallelujah”, showcased the versatility and stamina of the choir as they set a joyous tone for the unfolding drama. King Saul, once a mighty warrior himself, congratulates David on his victory and as a reward for his service, offers his elder daughter’s hand in marriage. When haughty Merab (soprano Maryam Wocial), sneering contemptuously, rejects this proposal, her younger sister Michal (soprano Beatriz Volante) chastises her for criticising Israel’s hero. From this interchange, the listener detects the first undertones of the pride, jealousy and distrust which pervade relationships in the royal household.
Chief amongst the casualties is Saul, whose envy of David escalates rapidly to loathing, when the gentle Michal professes her love for the young warrior and the Israelites praise David’s superior battle skills. Enraged by the disloyalty of his family and subjects, Saul orders his son Jonathan to kill David but he, too, defies his father’s instruction. Through a sequence of anguished recitatives and arias, baritone Simon Thorpe masterfully conveyed the gnawing anger of the old ruler, whose decline, whilst pitiful, is inevitable. In complete contrast, lyrical countertenor Francis Gush, as David, maintained a dignified serenity throughout, secure of his faith in God and Michal’s love.
The second act begins in sombre mood, as the chorus ponders the destructive power of Saul’s envy. Jonathan (tenor Christopher Bowen) reins back his disgust at his father’s treatment of David and pleads David's case very persuasively. To his astonishment, Saul relents. David is invited back to court and Michal is promised as his bride; however, David is reluctant to return as he does not trust Saul. When Jonathan tries to explain David’s reticence, Saul rages against them both. In the final act, a despairing Saul summons the Witch of Endor (soprano Maryam Wocial, convincingly embracing her evil side) to raise the ghost of Samuel the prophet. When asked for advice, the ghost predicts that Saul and Jonathan will die the next day in battle and David will inherit the Kingdom of Israel. The prophecy materialises, bringing the drama to its bittersweet closure.
As an unstaged performance, the oratorio relied on text, music and characterisation working together sympathetically to form a seamless whole. Handel’s setting of Jennen’s text is inspired, with David’s noble character referenced by fluid arias and harp solos and Saul’s volatility by angular vocal lines and complex accompaniment. Equally admirable is Handel’s imaginative choice of orchestration, a notable example being the inclusion of a carillon: a set of pitched bells played from a keyboard. Executed with great skill and dexterity by organist Richard McVeigh, the timbre of the symphonic interlude echoed the brilliance and purity of the young David. The orchestra, as specialists in Baroque music and period instruments, ensured musical excellence throughout, whilst the five soloists portrayed a cast of eleven diverse characters with distinction. The choir, in their various guises of narrator, scene-setter, commentator and summariser, delivered their choruses with equal confidence, clarity and conviction. All in all, a performance to remember.
This concert was dedicated to the memory of Mike and Edna Rowland, who not only played a pivotal role in founding Romsey Choral Society in 1981 but also managed Music in Romsey, the voluntary organisation which services concerts at Romsey Abbey, for more than 20 years.
Reviewed by Kath Tilling 01.04.2025
Saul marked Handel’s first collaboration with librettist Charles Jennens, who, just four years later would provide the text for his beloved masterpiece, Messiah. With words taken from the first book of Samuel, the story tells of the first King of Israel’s relationship with his successor, David; a progression from admiration, through envy to hatred, ultimately leading to the downfall of both Saul and his son Jonathan.
The work opens in declamatory style, with a chorus of Israelites raising their voices to God in thanksgiving for David’s victory over the Philistine giant, Goliath. A series of colourful choruses, culminating in a lusty “Hallelujah”, showcased the versatility and stamina of the choir as they set a joyous tone for the unfolding drama. King Saul, once a mighty warrior himself, congratulates David on his victory and as a reward for his service, offers his elder daughter’s hand in marriage. When haughty Merab (soprano Maryam Wocial), sneering contemptuously, rejects this proposal, her younger sister Michal (soprano Beatriz Volante) chastises her for criticising Israel’s hero. From this interchange, the listener detects the first undertones of the pride, jealousy and distrust which pervade relationships in the royal household.
Chief amongst the casualties is Saul, whose envy of David escalates rapidly to loathing, when the gentle Michal professes her love for the young warrior and the Israelites praise David’s superior battle skills. Enraged by the disloyalty of his family and subjects, Saul orders his son Jonathan to kill David but he, too, defies his father’s instruction. Through a sequence of anguished recitatives and arias, baritone Simon Thorpe masterfully conveyed the gnawing anger of the old ruler, whose decline, whilst pitiful, is inevitable. In complete contrast, lyrical countertenor Francis Gush, as David, maintained a dignified serenity throughout, secure of his faith in God and Michal’s love.
The second act begins in sombre mood, as the chorus ponders the destructive power of Saul’s envy. Jonathan (tenor Christopher Bowen) reins back his disgust at his father’s treatment of David and pleads David's case very persuasively. To his astonishment, Saul relents. David is invited back to court and Michal is promised as his bride; however, David is reluctant to return as he does not trust Saul. When Jonathan tries to explain David’s reticence, Saul rages against them both. In the final act, a despairing Saul summons the Witch of Endor (soprano Maryam Wocial, convincingly embracing her evil side) to raise the ghost of Samuel the prophet. When asked for advice, the ghost predicts that Saul and Jonathan will die the next day in battle and David will inherit the Kingdom of Israel. The prophecy materialises, bringing the drama to its bittersweet closure.
As an unstaged performance, the oratorio relied on text, music and characterisation working together sympathetically to form a seamless whole. Handel’s setting of Jennen’s text is inspired, with David’s noble character referenced by fluid arias and harp solos and Saul’s volatility by angular vocal lines and complex accompaniment. Equally admirable is Handel’s imaginative choice of orchestration, a notable example being the inclusion of a carillon: a set of pitched bells played from a keyboard. Executed with great skill and dexterity by organist Richard McVeigh, the timbre of the symphonic interlude echoed the brilliance and purity of the young David. The orchestra, as specialists in Baroque music and period instruments, ensured musical excellence throughout, whilst the five soloists portrayed a cast of eleven diverse characters with distinction. The choir, in their various guises of narrator, scene-setter, commentator and summariser, delivered their choruses with equal confidence, clarity and conviction. All in all, a performance to remember.
This concert was dedicated to the memory of Mike and Edna Rowland, who not only played a pivotal role in founding Romsey Choral Society in 1981 but also managed Music in Romsey, the voluntary organisation which services concerts at Romsey Abbey, for more than 20 years.
Reviewed by Kath Tilling 01.04.2025
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