Tag: vocal

Lisa Harper-Brown frames fine Opera Society recital

Posted on by Lindis Taylor

Lisa Harper-Brown (soprano) in Concert with Christie Cook – mezzo soprano, Stephen Diaz – counter-tenor, Cameron Barclay – tenor, Kieran Rayner – baritone
Bruce Greenfield – piano

Songs by Debussy and Rachmaninov, Montsalvatge, Brahms and Elgar; arias and ensembles by Mozart, Tchaikovsky, Bizet, Rossini, Saint-Saëns, Handel, Monteverdi, Bach, Bellini and Bernstein
(Vocal recital by New Zealand Opera Society, Wellington Branch)

St Andrew’s on The Terrace

Tuesday 20 November, 7.30pm

Once upon a time the Opera Society used to present regular recitals, every month or so. Then, as opportunities multiplied for singers to appear in professional and amateur productions and in recitals at the university schools of music, the screening of opera films slowly became more common and the society’s recital programme diminished. Instead, there are monthly screenings of operas on DVD.

British-born, Lisa Harper-Brown has worked in Australia for some years and has recently been appointed to a position in the vocal department of the New Zealand School of Music. She provided the professional element in the recital, singing no opera but instead, brackets of songs by Debussy and Rachmaninov.

Judging that most of the audience was probably unfamiliar with Debussy’s five 1889 settings of Baudelaire poems (called ‘Cinq poèmes de Baudelaire), Lisa spoke about them, singing them in pairs. Her remarks were scholarly and perceptive, touching on Debussy’s affinity with Baudelaire, with symbolist poetry, the impact of Wagner and philosophical thought of the time.  Though the songs come early in Debussy’s career, before any of the best known piano and orchestral music, it is good to be reminded that before this set, in his first decade of work – the 1880s – he wrote around 60 songs.

Her opening of the first song, Le balcon, burst on the audience like a thunder clap; it demanded attention but also suggested that she did not at first have the measure of the acoustic, and almost at once modified her delivery. As the song continued (it is very long) it also became clear that Lisa had a complete grasp of the young composer’s aesthetic and his command of wide dynamics and huge pitch range. The singer encompassed it, if not with ease, then at least with astonishing virtuosic skill, none of which obscured the essential voluptuous, and sometime decadent, quality of Debussy’s creations.

The songs tax not only the singer; they also make huge demands of the pianist whose task is to simulate an orchestra, for in them the recent impact of Debussy’s visit to Bayreuth as well as the influence of eastern music can be heard, in both voice and piano. Bruce Greenfield’s contribution was highly impressive, exhibiting subtlety and luminous Impressionist colourings.

Christie Cook graduated on music from Otago University and is now studying with Flora Edwards, planning to do further study overseas. She sang three widely varied songs: one of Montsalvatge’s Five Negro Songs (Cuba dendro de un piano) capturing well enough its singular quality; then Brahms’s Die Mainacht, which seemed to have been perfumed oddly by the previous song, giving it an unbrahmsian voluptuousness; and then one of Elgar’s Sea Pictures (Sea slumber song) which seemed to me free of a routine English contraltoesque quality; instead she invested it with her experience of singing in foreign languages.

Later in the concert Christie returned to sing Isabella’s fear-filled aria, ‘Cruda sorte’, from The Italian Girl in Algiers. Her excellent lower register and the sheer weight of her voice were more evident here, and I was reminded of a comparable voice such as Marilyn Horne’s, as she handled this taxing aria. The second-most-familiar aria from Samson and Delilah, ‘Printemps qui commence’, followed; her duplicitous role was quite persuasively portrayed, in an excellent performance. A stylish, risqué  number (The Physician) from Cole Porter’s Nymph Errant ended her bracket, the musical line well done though clarity of diction might have been better.

Cameron Barclay is an Auckland graduate but has been heard this year in striking performances of Beethoven’s Missa solemnis and the concert performance of Candide in Wellington. He sang ‘Il mio tesoro’ from Don Giovanni, in well-judged character, and a pathos-tinged Eugene Onegin aria: Lensky’s ‘Kuda, kuda’, contemplating his likely fate in the duel.

Kieran Rayner joined Barclay next to sing the duet from The Pearl Fishers. It came off splendidly, the two voices blending beautifully even though (perhaps because) the two have timbral similarities.

Rayner’s other offerings came in the second part of the concert. His sturdy baritone was a fit instrument for Bach’s ‘Grosser Herr, o starker König’ from the Christmas Oratorio. If this displayed his capacity in a joyous religious context, his bel canto offering from Bellini’s I puritani (‘Ah, per sempre io ti perdei’) offered profane matter into which he injected a degree of passion.

The runner-up in this year’s Lexus Song Quest, Stephen Diaz, entered to sing two arias: ‘In se Barbara’, a trouser role for contralto, sung by Arsace in Rossini’s Semiramide; and ‘Verdi prati’ from the castrato role of Ruggiero in Handel’s Alcina which he sang in the wonderful production by Opera in a Days Bay Garden earlier this year. Both arias were among the best things of the evening and brought expected vociferous audience response.

Christie Cook returned to sing with Diaz the duet ‘Pur ti miro’ from The Coronation of Poppea.  I can’t help hoping that modern scholarship is mistaken in the belief that it’s not by Monteverdi – it’s one of the loveliest pieces in the opera! The pair sang it with a rapturous beauty that totally disguised the couple’s villainous behaviour that got rewarded with happiness (brief in the event), and earned another outburst of enthusiasm.

Lisa Harper-Brown returned to conclude the concert with three Rachmaninov songs (Lilacs, Op 21:5; In the silence of the night, Op 4:3; Spring Waters, Op 14:11) which she sang in Russian, without a score in front of her. Both her impressive diction and her well-conceived musical interpretations suggested suppressed passion as well as classical elegance. The last song, Spring Waters, with its keenly evocative piano accompaniment (in case we needed reminding of the near uniform excellence of Greenfield’s playing), was a powerful testament to the genius of Rachmaninov as a song writer, making me wonder why his name is not included routinely when people speak of the world’s great lyrical composers.

The ensemble piece (Cook, Diaz, Barclay, Rayner in ‘Some other time’) from Bernstein’s On the town was a sort of anti-climax after the beauties of Rachmaninov and a great many of the earlier pieces. Recalling those affirmed this as an exceeding happy experience.

 

Interesting if somewhat problematic concert at Futuna Chapel

Posted on by Rosemary Collier

Colours of Futuna: Looking Upwards

Music by Pergolesi, Handel and Rossini

Janey MacKenzie (soprano), Jody Orgias (mezzo), Douglas Mews (keyboard)

Futuna Chapel, Karori

Sunday, 21 October, 2pm

Part of a 14-week Sunday afternoon series of short concerts held in, and celebrating, John Scott’s beautiful chapel, this concert featured mainly sacred vocal music.

The series of concerts is an excellent way of both celebrating the architectural gem from the 1960s, that at one stage was threatened with demolition after the Society of Mary retreat centre on the site closed and the land was sold and developed, and of raising money for its maintenance.  It is a pity that the flyer giving information about the concerts gives an incorrect number in Friend Street.  There is excellent information on the Futuna Chapel website.  The chapel, opened in 1961, was obviously named after the Pacific island of Futuna, where the Marists had missionary work.

The venue is small and intimate, ideal for chamber music concerts of all types, and very resonant, with all its timber and hard surfaces.  This means that there is no difficulty in hearing instruments or singing; on this occasion the volume was at times almost overpowering.  There was a need for the singers to adjust their dynamics to the size and clear, intimate acoustics of the venue.  It is quite hard on the voices, since everything shows.

The singers gave excellent spoken introductions to their music, the first item of which was Pergolesi’s Stabat Mater of 1736, or rather, four movements from it.  Douglas Mews performed the accompaniment on a digital piano – a bit of a come-down perhaps for Pergolesi (and for Douglas Mews too), but probably the only option.

The first excerpt was a duet, ‘Sancta Mater, istud agas’, the next a soprano solo, ‘Cuius animam gementem’, the third a mezzo solo, ‘Eia Mater, fons amoris’, and the last also a duet, ‘Quando corpus moretur’.  The lachrymose mood of the Stabat Mater, and indeed of all the vocal items in the concert, I found rather depressing on a sunny Sunday afternoon.  Nevertheless, the singing was mostly fine, apart from the excessive volume at times, and an unattractive edge to Jody Orgias’s voice in the higher register.  At the lower part of her range, her voice is rich and powerful – although at times a bit too powerful for her partner’s tone to come through.

We then moved to Handel, and his operas Orlando and Giulio Cesare.  The opening duet was from Orlando, while the solo ‘Piangero’ (yet more weeping and mourning), was from Giulio Cesare, as were the following two items.  These found Janey MacKenzie in good voice; Jody Orgias showed her flexibility and mastery of the music – and how deep she could sing – in ‘Va tacito’.  The duet ‘Son nata a lagrimar (there it is again!) was very effective, affecting and dramatically sung.

In between, Douglas Mews played the well-known Harmonious Blacksmith variations, which were well-suited to the instrument, and gave a pleasingly familiar and cheerful interlude.  I haven’t heard them played for years, though they used to be one of my ‘party pieces’.  Unfortunately, the piece demonstrated that the instrument was not evenly voiced, the notes in the middle register being stronger and more insistent.  This characteristic became rather tiresome.  Nevertheless, the playing was very expressive.

Now for something completely different – or was it?  We moved forward 100 years to Rossini, and his bouncy, operatic style of music.  It was still the woes of the sinners, and Mary’s pain, but in a much changed mode of expression  The Pergolesi and the Handel tolerated the keyboard accompaniment, the harpsichord that they would have used (along with other instruments) not being so very resonant.  However, the Rossini certainly missed the orchestra, or at least a grand piano, since the digital keyboard lacked the resonance necessary to reproduce the orchestral music of Rossini’s operatic style adequately.

The ‘Quis es homo’ from Rossini’s Stabat Mater and ‘Qui Tollis’ from his Petite Messe Solennelle, a late work, were operatic in character, and the duets were sung well, with complete cohesion, apart from some volume imbalance between the parts in ‘Qui Tollis’.

The two movements were separated (or joined?) by the Offertory, played by Douglas Mews.  Rossini’s first version calls for a harmonium, while in the second it is set for full orchestra.  Thus, a tall order either way, but it was appealingly played

The concert, therefore, had an ecclesiastical environment and content; the other ecclesiastical feature was the curate’s egg.

 

Music-making with virtuosity, beauty and energy at Wellington Youth Orchestra’s last 2012 outing

Posted on by Peter Mechen

Wellington Youth Orchestra – Final 2012 Concert

Music by Thomas Goss, Hector Berlioz, Johannes Brahms

Louis van der Mespel (double-bass)

Bianca Andrew (mezzo-soprano)

Hamish McKeich (conductor)

Wellington Youth Orchestra

Town Hall, Wellington

Sunday 21st October 2012

My second encounter of the year with a Wellington Youth Orchestra concert was in its way as pleasurable and invigorating as the first one  – and in fact I thought the orchestra played more confidently and assuredly this time round throughout the entire programme, in repertoire that posed a number of interesting and diverse challenges.

Hamish McKeich was again the conductor, and as was the case during the previous concert, demonstrated a feeling for a range of repertoire I’d not before associated him with. It seemed, on the face of things, a far cry from the fare I’d usually heard him direct, mostly with the contemporary music ensemble Stroma, to the worlds of both Rachmaninov and Berlioz (to name but two of the composers whose music the orchestra played), but he seemed just as at home with each of these respective worlds of sound and feeling as with any “modern” composer’s music.

Of course, present-day composition assumes an enormous stylistic and aesthetic range of expression, as the evening’s first concert item illustrated. This was Thomas Goss’s delightful Double Bass Concerto, written in 2004 and premiered the following year in Santa Rosa, California. It was played here brilliantly by Louis van der Mespel, his performance marking the young soloist’s success in winning the WYO Concerto competition earlier this year.

This work was intended by the composer as a kind of showpiece for the instrument, making use of its “natural” characteristics such as warmth, depth, resonance and available range of pitch and dynamics. In his program note Goss talks about the instrument’s “alternate view of virtuoso string playing” – and van der Mespel’s performance realized these unique characteristics with considerable aplomb.

I found the music had a kind of “English pastoral” feeling, predominantly lyrical and rhapsodic, a style assumed by the double-bass as well, with a few startling extensions to what one would expect from something like a viola or ‘cello! Particularly striking was the instrument’s high register under this young soloist’s fingers – his playing may have had the odd patch of edgy intonation, but such were few and far between.

Goss’s writing for the orchestra was lovely in places where one felt a kind of “outdoors” ambience, the wind-blown string phrases readily evoking open spaces, though ready when required to explore emotional responses to the same, whether reflective or passionate. Among other ingratiating moments were were sequences of dialogue between the soloist and, by turns, the respective leaders of the violin seconds and firsts.

The soloist was given a cadenza-like recitative towards the work’s end, splendidly expressive and wide-ranging, and especially notable for some beautifully-managed harmonics, contrasted with great growlings on the lower strings! A reflective mood dominated the work’s last pages, leaving a poetic, almost elegiac impression at the end. Splendid work from all concerned, and especially from the young soloist!

From double-bass to mezzo-soprano seemed a truly radical tonal focus-shift, but the rich and radiant beauty of singer Bianca Andrew’s opening phrases took us more-or-less immediately into Hector Berlioz’s world of turbo-charged sensibility, though hardly that, it must be said, inhabited by the same composer’s wonderfully hallucinatory “Symphonie Fantastique”.

Instead, with these songs Berlioz found a rather more finely-honed expression perfectly suited to the poetry of Theophile Gautier, the result being a sequence of settings at once sensuous, poetic and elegiac. We were fortunate to hear singing that was more than ready to respond to every inflection of the line and every colour suggested by the text, catching and holding the flavour of each setting so beautifully.

It seemed, too, the instrumentalists were inspired by Bianca Andrew’s radiance and focus throughout – though often not particularly glamorous in effect, the strings kept their intonations nicely in accord with their soloist, and the winds made some lovely accompanying melismas in places. Le spectre de la Rose was distinguished by a range of expression from the singer which conveyed all the bitter-sweet sense of fulfillment in death, raptly accompanied by conductor and players; and the contrasting dark passions of Absence here washed over us with telling force, the repeated cries of “Oh!” like searing sword-strokes to the heart, making the desolation at the end all the more hurtful to experience.

Though the text of the following Sur les lagunes spoke also of loss and desertion, the mood was somehow more radiant, more elevated, with eyes seemingly turned heavenward rather than downcast (“Above me the immensity of night spreads like a shroud”), the music’s grief almost transcendent in its upwardly-reaching outbursts, the highest notes countering the bitterness of those which transfixed the previous setting, Absence. Surely Bianca Andrew was born to sing this music, conveying such a heart-warming sense of release in the cycle’s final song L’Ile Inconnue (Berlioz’s fifth setting, Au Cimetière, was omitted) using her face as well as her tones to delightful effect, and conveying such a generosity of spirit with these heartfelt outpourings. Orchestra and conductor, too, seemed hardly able to contain their pleasure in realizing such beauties, earning the audience’s gratitude and appreciation at the end.

And then, after the interval, there was Brahms! – the Fourth Symphony, no less, a strong, dark, and in places melancholy work, relieved by a giant’s playground of a scherzo (in this and in other instances the most Brucknerian-sounding of all of Brahms’ music) and then capped off by a passacaglia whose heights and valleys, grandeurs and storms resemble those of a mountain range. Youthful energy and confidence kicked in beautifully at the start of the symphony, the occasional phrase snatched a little uneasily, but with most things nobly unfolding, as my notes attest – “conductor gets his strings to “ghost” their figurations nicely” – “big irruptions have plenty of energy, raw in places but spirited” – and “passionate strings – the strain on some of the high notes a sign of their sheer commitment”.

Despite some slightly awry ensemble as strings vied with winds to bring the movement’s coda together, the excitement was palpable, Hamish McKeich spurring his players on and concertmaster Arna Morton leading by vividly-projected example from the front of the strings as was her usual wont. Though the words ‘better to travel than to arrive” had some point in this context, there were apparent feelings of great satisfaction among the players in achieving their opening destination.

Though relatively dry-eyed and light-footed at the outset, the slow movement’s tender beauty was well-chartered, clarinets especially lovely – and I liked the work of the lower strings, violas and cellos who had the theme against the wind counterpoints later in the movement. Though not as “Brucknerian” as I’ve heard, the strings still put everything into their big chorale-like tune, a favorite sequence of mine within the movement, when it returns after a previous outing on the winds. What was Brahms thinking of when he wrote this music? – such regret, and (at the end) almost utter desolation, with only the final wind chord for solace.

The orchestra did its best to cheer the composer and us up afterwards with a rollicking performance of the scherzo, Hamish McKeich encouraging plenty of bucolic girth of texture from the strings and brass, and lovely swirlings from the winds – the music’s “schwung” came across in great waves of energy, contrasting beautifully with the trio’s noble horn tones and lovely string detailing.

As for the finale, with its monumental structures and huge vistas of contrast, the players faced the opening head-on, with full brass tones and sterling timpani work. Though the strings occasionally lacked pin-point attack through their syncopated figurations, they dug in splendidly elsewhere, unfailingly supported by conductor McKeich. The flute solo was gorgeous, and the dovetailing between winds and lower strings went particularly well. When the great mid-movement outburst came, the strings excelled themselves with steady ensemble and full, committed tones – the softer passages a bit further on posed more of an ensemble challenge, but the more stentorian bits were driven home with terrific conviction, the brasses punching out the cadences and the rest of the players making their instruments sing right to the very end. Through thrills and spills alike, it proved a very exciting and satisfying performance from orchestra and conductor.

NZSM singers entertain in Upper Hutt arts centre foyer

Posted on by Rosemary Collier

Arias from opera; songs

New Zealand School of Music: Vocal students of Richard Greager, Jenny Wollerman, Margaret Medlyn and Lisa Harper-Brown, with Mark Dorrell (piano)

Rotary Foyer, Expressions Arts and Entertainment Centre, Upper Hutt

Tuesday 9 October 2012, 1pm

This was the last of a monthly series of free concerts given by performance students from the New Zealand School of Music.  It attracted a full house, there being over 100 people present.  It was the same last year; obviously hearing singers is particularly attractive to the music-lovers of Upper Hutt.  All the singers presented their items with poise and confidence.  There was a mixture of arias from opera, and songs.

The foyer has a fine acoustic, and both pianist and singers did well there.  There is a café sharing the space, and this meant a certain amount of noise.  However, it was seldom very loud, nor was it constant, so it made a pleasant, informal venue .

Baritone Christian Thurston opened the programme with ‘Alla vita che t’arride’ from Un Ballo in Maschera by Verdi.  Just over a week ago, Thurston made a very fine Figaro in a concert of opera excerpts by NZSM students, at the Adam Concert Room.  He has a wonderfully rich voice, very Verdian, well controlled and produced with good support.  After a spoken introduction, he sang confidently and clearly; his runs were particularly good.

Next we heard from soprano Christina Orgias.  Her introductions her three songs were among the best for fluency and meaningful presentation – and these characteristics were true of her singing also.  Her mature voice has a natural resonance, quite a lot of vibrato, and plenty of volume.  ‘Before my window’ by Rachmaninov was gorgeous.

Amelia Ryman (soprano) sang firstly ‘The Trees on the Mountains’, from Carlisle Floyd’s 1955 opera, Susannah (not the Liszt song shown in the programme).  This singer has a powerful voice, but it was beautifully controlled.  She gave a very pleasing performance of the aria, with subtlety, and the appropriate American accent.

Jamie Henare (bass) sang perhaps the saddest song in Schubert’s song cycle Der Winterreise: ‘Der Leiermann’ (The organ-grinder).  His German language was good, but the song was not sufficiently well projected in the quiet passages.  However, his voice has a very pleasing quality.

Excellent German articulation was heard from Christina Orgias in her second song: ‘O wüsst’ ich doch den Weg zurück’ by Brahms.  She conveyed the mood of homesickness, the theme of this song, very well.

Soprano Elita McDonald followed, with a Richard Strauss song, ‘Die Nacht’.  Her voice has a lovely quality, and seemed just right for Strauss, though the lower notes were a bit out of her range; however, her high notes were pure and delightful.  Hers, too, was a very good spoken introduction.

Strauss returned, this time with Christian Thurston singing ‘Zueignung’.  I enjoyed neither his rather unclear introduction nor the song so well.  I would rather hear it sung by a mezzo or a soprano.  A low voice simply cannot demonstrate that marvellous ecstatic lift that the composer has given to this wonderful song.

Jamie Henare’s first aria was from La Bohème: ‘Vecchia zimarra’, in which Colline sings about having to sell his old coat in order to have money to buy medicine for the ailing Mimi.  This suited him better than the Schubert song – and speaking of suits, he had an old coat with him as a prop.

Then came the undoubted star of the show, Isabella Moore.  The three items she sang were certainly longer than those performed by her fellow-students, and done to a greater level of proficiency.  First, also from Puccini’s La Bohème, ‘Si, mi chiamano Mimi’.  This well-loved aria was sang with a naturalness, confidence and assurance presaged by her introduction.  She used gesture well, but it was her voice that drew the attention.  She has a great voice, which she uses with intelligence and subtlety.  With it, she could grace the operatic stage right now.  This was a wonderfully moving performance, with superb tone and excellent projection.

Amelia Ryman followed up with ‘Daphne’, one of William Walton’s setting of Edith Sitwell texts.  This was a bright performance, but the voice was rather shrill at the top.

Elita McDonald returned to sing Vaughan Williams’s very lovely song ‘Silent Noon’.  This was beautifully and expressively sung, but could have done with a little more delicacy in places.

Now for something completely different: Isabella Moore sang Benjamin Britten’s witty cabaret song ‘Johnny’; the words by W.H. Auden.  This is heard not infrequently, but a rendition that was memorable for me, over 20 years ago, was by Sarah Walker, the English mezzo, when she visited New Zealand.  Moore’s performance was well up with this high standard, her facial expressions and use of the words making it fully characterised.

Jamie Henare completed his trilogy with ‘Ho capito, Signor si!’ from Mozart’s Don Giovanni.  This received a better introduction than did his previous two items.  The voice quality was fine, but there was not enough projection of the character.  The Don is being addressed by the hapless country lad Masetto, who is fearful for his girlfriend Zerlina’s virtue, with the Don about to be alone with her.   This all came over as too pat, too glib.  Yes, many of us know the aria, but it must appear to be freshly minted for each performance.

Mozart was the composer of the next aria also: ‘Come scoglio’ from Così fan Tutte, sung by Christina Orgias.  This aria incorporates a lot of florid singing which the singer executed well, with a commendable variety of dynamics.  She varied the words intelligently, and gave a completely characterised Fiordiligi.

Christian Thurston’s last aria was ‘Questo amor, vergogna mia’ from Edgar by Puccini.  He gave a very fine performance.

The recital ended appropriately with Isabella Moore, who sang from Massenet’s Herodiade Salome’s aria ‘Il est doux, il est bon’, about her infatuation with John the Baptist.  Moore’s language was again immaculate.  She gave a very expressive and brilliant performance; in fact, she was the compleat singer.

It was noticeable that this singer was the only one to mention accompanist Mark Dorrell as a fellow performer, and to gesture her thanks to him at the end of each of her items.  The audience rewarded singers and pianist with hearty applause.

Music hath charms…  and the audience was certainly charmed by this recital by promising singing students, accompanied throughout by the incomparable, or should we say unashamed, accompanist.

 

Interesting, themed recital by vocal quartet at Old Saint Paul’s

Posted on by Lindis Taylor

‘The Hunter and the Hunted’

Janey MacKenzie (soprano), Jody Orgias (mezzo soprano), Jamie Young (tenor), Justin Pearce (baritone) and Robyn Jaquiery (piano)

Arias and songs by Tchaikovsky and Handel

Old Saint Paul’s, Mulgrave Street

Tuesday 18 September, 12.15pm

The programme notes were prefaced by the words: “Some hunt for sport. Some hunt for revenge. Others are searching for love.”

Sometimes the search for a theme that might bring to a recital some kind of common thread that seems to make the whole greater than the sun of the parts, is useful, sometimes not. This fell somewhere between, though the ground was well covered by what we heard.

Janey MacKenzie and Jody Orgias opened with two duets by Tchaikovsky.
‘In the garden, near the ford’ opened with rippling piano sounds that accompanied the two very different voices which, however, blended most attractively. In authentic-sounding Russian, their singing lifted the spirits. In a second duet, ‘Dawn’, the two voices evoked a quiet religious air in a chant-like melody, perhaps suitable for the Orthodox equivalent of Matins, in slow waltz time, and they reflected the brightening day in lines than rose in pitch and clarity.

Handel occupied the central group of the recital: three pieces from Giulio Cesare, one from Semele, and one, the trio ‘The flocks shall leave the mountains’, from Acis and Galatea.

Tenor Jamie Young sang ‘Where’er you walk’ (Semele) in a voice that was slightly brittle but more seriously, in a manner that tried too hard with needless ornamentation. As a result it was difficult to conjure an air of gentle longing. Jamie reappeared in the trio from Acis and Galatea, singing the role of Acis which framed his voice to better advantage among other singers. Janey MacKenzie sang the Galatea while Justin Pearce as the nasty Polyphemus interrupted matters with a fine, threatening confrontation.

Here, and throughout, the need to use the scores detracted a little from the creation of an atmosphere seeking to evoke theatrical performance.

The three items from Giulio Cesare came together well; first with Jody taking the alto part of Cornelia to Janey MacKenzie’s Sextus in ‘Son nata a lagrimar’ in Act I where the murdered Pompey’s wife, Cornelia, and their son Sextus lament their predicament, caught up in the political and sexual web through the designs of Ptolemy and his retinue. The emotion was well portrayed.

Earlier in that act, Caesar has been offered duplicitous blandishments by Ptolemy and Caesar invokes a hunting simile in his solo ‘Va tacito’ to hint at the revenge he seeks against the Egyptian king. Jody illuminated the castrato role of Caesar (these days a great role for counter-tenors David Daniels and Andreas Scholl) with the right emotional quality.

The beautiful aria ‘Piangero la sorte mia’ is sung by Cleopatra at the beginning of Act III after Ptolemy’s army has defeated Cleopatra’s forces and she is imprisoned, but dreams of revenge which she and Caesar achieve with Caesar’s surprise defeat of Ptolemy in the last scene. Janey MacKenzie created a convincing Cleopatra both vocally and even visually.

The recital reverted to the late 19th century with another song and two arias by Tchaikovsky. The curtain rises in Eugene Onegin with Tatiana and her sister Olga singing a duet and these two voices simulated the peasant simplicity of the two rather affectingly.

Between the two arias Justin Pearce sang what is probably Tchaikovsky’s best-known song, ‘None but the lonely heart’, a Russian translation of the second of Mignon’s songs from Goethe’s Wilhelm Meisters Lehrjahren, ‘Nur wer die Sehnsucht kennt’.

His voice is perhaps a little unyielding for the real emotional force of the song to emerge but the tone or regret and longing were there.

Then from Tchaikovsky’s penultimate opera, The Queen of Spades, the two again took very similar roles, Lisa and Pauline, children of landed gentry, sweetly adopting a peasant song for their pleasure.
It brought to an end an attractive and unusual group of songs in a setting that helped simulate the atmosphere of the theatre.

 

 

Enter Spring – wishful encouragement from Nota Bene

Posted on by Rosemary Collier

Spring Songs: English songs by Moeran, Finzi, Michael Head, Parry, Holst and Rutter, arrangements by John Walker and Philip Walsh

New Zealand songs by Janet Jennings, and American songs by  Ken Neufeld, Scott Wilkinson, Rodgers and Hammerstein, Loesser and Charles Collins

Sharon Talbot (soprano), Stephanie Gartrell (mezzo), Juliet Kennedy (soprano)

Nota bene conducted by Peter de Blois, with Rosemary Russell and Peter de Blois (piano)

Sacred Heart Cathedral, Hill St., Wellington

Sunday, 16 September 2012

It is rather unusual to hear a programme of songs entirely in the English language – there is a certain refreshing nature to such a concert.  Most of the songs were by English composers, but there were a number of American compositions, a couple of New Zealand ones, and a couple of arrangements (where, strangely, the original composers were not properly credited).   Not only were they all in English, they all evoked the season of spring in some way – some very directly, others by inference.

A very full printed programme gave the words to all the songs, which was most useful.  While in many cases the words of the songs were projected clearly by the singers, in those songs with more complex settings it was difficult to pick up all the words.  The entirely Internet-derived programme notes gave concert-goers plenty of information.

The programme opened with seven songs by Ernest Moeran (1894-1950), (not Edward Moeran as in the programme – he’s a later musical character) whose Songs of Springtime were settings of words by Shakespeare, John Fletcher, Thomas Nashe, Samuel Daniel, William Brown, and Robert Herrick, all of them poets flourishing in the late 16th and early 17th centuries, the earliest birth date being 1562 and the latest date of death, 1674.

There are those who will say that a well-written poem is music in itself, and it does not need to be given melody and harmony in the musical sense.  Nevertheless, composers are attracted to fine poetry, and if the settings are inspired, they can enhance the words and the meaning.

Most of Moeran’s a cappella settings filled this definition.  ‘Under the greenwood tree’ was full of joy, and had interesting modulations.  There was some harsh tone from the choir in this item.  The second song, ‘River-god’s song’ was of a different mood, and featured lovely suspensions, great variation in dynamics and clear enunciation.

‘Spring, sweet spring’ was a gentle evocation of birds and their songs, and spring was gently introduced.  ‘Love is a sickness’ was notable for gorgeous harmonies.  During ‘Sigh no more, ladies’ the tone of the men was very good – often it is the case in choirs that the male voices do not match the female ones in this respect.

‘Good wine’ was a tricky piece, but the choir brought it off.  The church’s good acoustics assisted the very pleasing timbre and resonance of the voices.  The final song of Moeran, ‘To Daffodils’ projected a smooth and pleasing quality from the voices.

The men of the choir took a break, while the women sang two songs by New Zealander Janet Jennings: ‘To Spring’ and ‘How sweet I roamed’, the words of both by William Blake.  What wonderful words they were!  Rosemary Russell accompanied on the piano.  These were most appealing songs.  Nota Bene has sung Janet Jenniings’s music before; it deserves wider performance and notice.  These were very accomplished songs.

Gerald Finzi was a composer with a great gift for setting poems.  His unaccompanied Seven Partsongs (five of which were sung) are settings of poems by Robert Bridges (1844-1930).  The poems are quite wordy compared with those set by Moeran and the other composers we had heard already.  Yet Finzi’s love of poetry and his skill combined to write the music sensitively, showing ‘…an unfailing response to and unity with each poet’s words…’ as the programme note had it.

It was a pity that the choir was not together for the start of the first song; elsewhere in the programme initial attacks were faultless.  Two songs about flowers, and the mournful thoughts they can evoke, were followed by a more well-known song (a favourite of Professor Peter Godfrey’s) changed the mood: ‘My spirit sang all day’.  The rising cadences of this song indeed raise the spirit; it is a wonderfully jubilant and affirmative song invoking joy.

The poem set for the next song, about a stream, struck me as rather too complex to communicate well through music, and the final one also.  That is not to say that the settings were not beautiful, the music of the first being clear and gentle, despite some strain and inaccuracy from the choir; the tenors’ tone particularly was sometimes abrasive.  Nevertheless, excellent blend is a lovely feature of this choir, and the performances were very musical.  The final song, ‘Wherefore tonight’ was about the soul and its experiences, and was scattered with wonderful discords and their resolution.  It was a grand conclusion to the cycle.

Now for something completely different – two solos: Michael Head’s A blackbird singing, and Parry’s My heart is like a singing bird, sung by Sharon Talbot, accompanied by Rosemary Russell on the piano.  These were not entirely successful.  The words did not project, for the most part, and the lower notes disappeared. The piano was a little too loud at times to allow the singer to be heard well in such an acoustically alive building.  I was amused to read that Michael Head ‘gave his first public recital as a self-accompanied singer’; not so many years ago, Simon O’Neill was disqualified from a class of a prestigious Sydney voice competition because he accompanied himself, his designated accompanist having not been able to be present at the last minute.

The choir returned to perform I love my love by Gustav Holst; it was given a spirited performance when required, but also thoughtful.  The words were depicted well in this beautifully varied song.

American composer Neufeld was represented by ‘To Daffodils’, Moeran’s setting of which we had already heard.  It was very apparent that we were hearing a more modern setting than Moeran’s; the jazz elements, and different use of the voices were distinctive, particularly the great low bass notes.  It was a charming setting.  Another American followed: Scott Wilkinson, whose setting of words from the Biblical Song of Solomon was complex, however the words were beautifully treated.  In this song the tenor tone was variable.

Several solos followed, from Rodgers and Hammerstein’s State Fair, ‘That lovely weekend’, a Vera Lynn song, with music and words by Moira and Ted Heath (although the printed programme implied they had written the words only).  It was arranged by John Walker, who has arranged for The King’s Singers; and Frank Loesser’s ‘Spring will be a little late this year’ from the movie Christmas Holiday.  The first and third songs were sung in good style by mezzo Stephanie Gartrell, accompanied by Peter de Blois on the piano, at an appropriate level for the soloist.

Gartrell possesses a very resonant voice, and moved around in a natural manner while singing.  However, these pieces seemed incongruous from a singer (and a choir) dressed totally in black, in the atmosphere of a church, and while not at all against the inclusion of such items in a choral concert, I felt that they fell flat in this environment.

The Heath song was sung by Peter de Blois, while the choir ooh-ed in harmony.  De Blois’s fine tenor voice sang very expressively with absolutely clear words, while the choir ooh-ed with smooth tone and appropriate style.

The next item again acknowledged the arranger in the programme (former busy musician in Wellington Philip Walsh), but not the composer, Manning Sherwin.  It was the wartime favourite ‘A nightingale sang in Berkeley Square’.  The statement ‘…was written for the choir of Queen’s College, Cambridge’ presumably applied to the arrangement.  A soprano soloist, Juliet Kennedy, sang the do-dos and ah-ahs as well as text, but without the smooth insouciance of a Vera Lynn.

Charles A. Collins was the composer of an amusing song, ‘Mary had a little blues’, with de Blois accompanying on the piano.  It was sung by the women; the sole male vocal participation was an ‘Oh yeah’ at the end.  A lively rendition from memory,  the performance proved how much more communication there is with the audience when music is memorised.

The final item was by that British master of choral music, John Rutter.  His setting of Shakespeare’s ‘It was a lover and his lass’, another unaccompanied piece which the conductor joined in singing after getting the choir started.  The song had a jazzy style and rhythm, and was a cheery ending to the concert.

Peter de Blois’s conducting style is fluent, and the choir responded well in all the items. The rather small audience gave the choir enthusiastic applause.  It struck me that the English songs could be compiled into an very acceptable and attractive CD.

 

 

A fine recital of Fauré mélodies at St Andrew’s

Posted on by Lindis Taylor

Songs by Fauré sung by The VoxBox:  Megan Corby (soprano) and Craig Beardsworth (baritone)

St Andrew’s on The Terrace

Wednesday 29 August, 12.15pm

I last heard these two accomplished singers at a lunchtime concert at St Mark’s church, Lower Hutt, a few months ago, when  they sang an amusing variety of American songs. For Wellington City they chose a slightly more rigorous programme, though only in the sense that all the songs were by one composer, and a classical composer whom many would not rank among the top ten.

But this little recital went some way to establish Fauré as a composer who can easily sustain interest in a programme dedicated solely to him.

The two took turns. Megan Corby sang the first two songs: Au bord de l’eau, a charming barcarolle, which served to get piano and voice in balance with each other; dynamics were a little uneven, but her French was carefully delivered; then Ici bas, in which her attractive voice found a comfortable level; it’s a lament on the shortcomings of life on earth compared with another life elsewhere. Both were songs to poems by Sully-Prudhomme. (He was associated with the group known as Parnassiens, who advanced the notion of l’art pour l’art – ‘art for art’s sake’).

Craig Beardsworth sang a third song to a Sully-Prudhomme poem, Les berceaux. It was good to hear his voice in such good shape, in a song that called for subtlety where his velvety baritone seemed sleepily suited; the idea is unusual, with a rocking motion that relates both to a cradle, and to a boat whose shape also suggests a cradle: the words reflect on the roles of men and women,

Megan returned for Aurore by an obscure poet, Armand Silvestre, and her voice flowed comfortably over its long lines. (Silvestre, incidentally, was more noted as a playwright; he wrote the play HenryVIII that Saint-Saëns set as an opera). She followed with the languorous Les roses d’Ispahan by Leconte de Lisle, the leader of the Parnassiens, capturing a fitting sensuous quality.

Craig offered a few comments before some of his songs. He explained the origin of Nell (also Leconte de Lisle), as derived from a poem by Burns and his singing was enriched by its varied timbres. Craig’s remarks before several of the songs were apt and well-informed: I am not one who has an objection to performers speaking.

Megan next sang one of Fauré’s best-known songs, Après un rêve. Her delivery was a little more declamatory than its lines seemed to suggest to me: rather whispered.

Craig, without the score in front of him, sang a trilogy of songs, Poème du jour (by another obscure poet, Charles Grandmougin). Though minor poems, Fauré has created a set of expressive songs telling a predictable little love story, in which Craig’s voice rose comfortably, occasionally, into the tenor register.

Megan’s final songs were Chanson d’amour, Clair de lune and Mandoline – the last two to poems by Verlaine. Chanson d’amour was slight enough, repeating unvaried the words ‘Je t’aime’ at the start of each stanza, but she created an air of superficial contentment. Both Clair de lune and Mandoline are settings of good poems in some of Fauré’s loveliest music, and Megan explored their individual character most affectingly, leaving a convincing impression of a singer with the secrets of the French mélodie in her soul.

Craig’s last songs were Le secret (about which he told an anecdote: Fauré who was never a confident composer, had played it to Duparc who exclaimed: ‘Bête sauvage’ which reassured Fauré that he’d been successful); and En sourdine, also by Verlaine. Over an accompaniment of broken arpeggios, it refers to a muted stringed instrument, though it’s a song of wide-ranging character that would hardly call for a mute if played on a violin, and was a fine way to confirm Beardsworth’s accomplishments as a sensitive singer of French mélodies.

The whole programme was very well conceived and, given the outdoor attractions of nice weather, well received by a quite large audience.

 

 

Wellington’s Aria Contest remains an important event in vocal students’ calendar

Posted on by Rosemary Collier

Wellington Regional Vocal Competitions Aria Final

St. Andrew’s on The Terrace

Sunday, 19 August 2012, 7.30pm

Eight singers selected from earlier rounds sang an aria in each of the two halves of the  concert, and were judged by Roger Wilson, to decide the winner of the Dame Malvina Major Foundation Prize of $4,000, the runner-up, and other awards.

Accompanist was Mark Dorrell – and what a splendid job he did!  Sixteen arias to be accompanied on a piano and in an acoustic that does not lend itself easily to sensitive accompaniment, but this was impeccable playing.  It seems that never did he need to ask Gerald Moore’s question ‘Am I too loud?’  He received well-deserved applause from the audience at the end of the evening.

The audience was somewhat sparse – about 50 people, excluding the performers.  More advertising would probably pay for itself; indeed, some advertising, such as on Radio New Zealand Concert’s ‘Live Diary’ is free.

The arias chosen were more varied than is sometimes the case; only one was repeated.  Italian arias dominated, naturally, but there were four in the French language, two in English, and one each in Russian and German.  Rossini was the most popular composers, but otherwise, the spread was quite wide.

Richard Greager was compère for the evening, and provided knowledgeable introductory comments on each of the operas represented, and the situation in the plot in which the aria to be sung occurred.

The first of the singers was Angélique MacDonald, singing ‘Regnava nel silenzio’ from Lucia di Lammermoor by Donizetti.  This difficult aria and Lucia’s dramatic role were well characterised, but I found the voice rather metallic at times, and pitch a little suspect here and there.  St. Andrew’s Church has a lively acoustic and is relatively small as a venue, so these things are more obvious.  Her coloratura runs were executed well, and her presentation was in appropriate style.

Next up was Isabella Moore.  She is possessed of a full, rich voice, and apparently easy production.  Her notes are true, and they develop plenty of volume when required, but as well as being dramatic, she sang expressively, in very good French, ‘Il est doux, il est bon’ from a Massenet opera that is not well-known: Herodiade.  My reaction was ‘Wow!’

Now to the first of the male singers: baritone Julien Van Mallaerts.  His ‘Onegin’s Aria’ from Tchaikowsky’s Eugene Onegin was sung most beautifully, in Russian.  He conveyed the character of Onegin superbly well, with good phrasing and most expressive characterisation.

Christie Cook followed, with ‘Printemps qui commence’ from Samson et Dalila by Saint-Saëns.  The top notes of this soprano’s singing were quite lovely; initially, the low notes were not so good, but this changed.  She used her resonators well, particularly here, in the more nasal language that is French, a language that she had mastered effectively.  Her rich voice and excellent shaping of the aria made for a clear and telling performance.

Now to a tenor: Thomas Atkins, who sang a lesser-known aria by Cilea: ‘E la solita storia’, from L’Arlesiana.  Atkins’s voice has developed a more Italianate quality since I last heard him sing (not long ago).  His Federico produced superb tone and phrasing, with quiet and thoughtful sections well expressed.  Excellent control and use of his resonators were features.

One of the interesting features of the final contest is the variety of voices to be heard.  Amelia Ryman is a lyric soprano with a very true voice which she uses expressively.  Her high notes were magical, in ‘Willow Song’ from The Ballad of Baby Doe by Douglas Moore.  I knew nothing about composer or opera, but my Dictionary of Opera and Operetta (by James Anderson) tells me that the composer lived from 1893 to 1969, and composed a number of operas, of  which The Ballad of Baby Doe “was one of the most successful of all American operas”; it was first performed in 1956, only a few years before the first performance of Britten’s A Midsummer Night’s Dream, the other English language opera from which we heard an excerpt.  These were much the most modern of the arias performed, this one a folk ballad rather than an aria in the usual sense.  Amelia put it over with confidence and freshness.

I wondered if Cameron Barclay’s voice became a little tired towards the end of his aria ‘Il mio tesoro’ from Mozart’s Don Giovanni, after all the earlier rounds and classes in the Hutt Valley Competitions, climaxing in this aria contest.  Otherwise, he sang superbly.   The tenor aria of Don Ottavio suited him well, his pleasing voice sounding particularly good on high notes.  He demonstrated admirable variation of dynamics, and excellent runs.

Last in this half was Bianca Andrew, mezzo-soprano.  She chose ‘I know a bank’ from the Britten opera mentioned.  This was a contrast in styles from much else that was offered.  The character Bianca portrayed was Puck.  The introductory music on the piano was utterly appropriate to the character.  Her words were very clear, but this was a slow aria compared with most we heard – a contrast to her second choice, later.  She made an impressive job of this piece, and her facial expressions and gestures carried the character with them, while her singing was strong and full-bodied,  but with variety as well.

Angélique MacDonald’s aria that opened the second half of the concert, ‘Una voce poco fa’ from The Barber of Seville by Rossini, was another number with coloratura acrobatics, similarly to her aria in the first half.  Perhaps a contrast of style, such as other singers chose to present, would have been advantageous.  Slight flatness of some notes occurred again, but her coloratura passages were good.  I thought her facial expressions a little overdone, and the rendition somewhat too confident and cheeky in presentation.

Isabella Moore’s ‘Tacea la notte placida’ from Il Trovatore by Verdi was a difficult aria which the singer managed well, with a wealth of expression.  Her vibrant tones were just right for the dramatic heroine of this opera.

Rossini and his Barber returned, with Julien Van Mellaerts singing the aria that is probably the most well-known in all opera: ‘Largo al factotum’.  The baritone sang this with great style – and very fast!  His linguistic and vocal facility were remarkable, and his characterisation and acting of the role were excellent after his off-stage beginning, and entrance singing.

In ‘Cruda sorte’ from Rossini’s L’Italiana in Algeri, Christie Cook made a strong  impression.  Her beginning was very powerful; at first her intonation was a little off-centre, but improved.  She had a vocal quality befitting the character of  Isabella, and her top notes were excellent .

Thomas Atkins presented ‘Pourquoi me reveiller?’ from Werther by Massenet, in a very appropriate style for French opera..  His tender notes were wonderful.  My note says “Move over, Pavarotti”!

Amelia Ryman’s clear, agile voice again delivered the words very clearly, in ‘Ach, ich liebte’ from Die Entfürung aus dem Serail by Mozart.  The characterisation was very touching.

Cameron Barclay gave us ‘Je crois entendre encore’ from The Pearl Fishers by Bizet.  The high tessitura in this aria seemed to hold no fears; the tenor’s singing was very fine, and his breath control was splendid.

The only repeat of the evening was Bianca Andrew singing ‘Una voce poco fa’ from The Barber of Seville by Rossini, but at a lower pitch than that adopted by Angélique MacDonald (Rossini cast the role of Rosina for a mezzo).  She introduced it herself, speaking through the extended orchestral introduction (in this case, piano), to give the background to her character’s position.  The aria received a naturalistic presentation, with a certain amount of movement and posing, her voice being a thoroughly integrated part of the performance – and it was in fine form.  She was telling us the story, not showing us how beautifully she could sing.

At the end of proceedings, Angela Gorton spoke on behalf of the Dame Malvina Major Foundation, and adjudicator Roger Wilson spoke of the high level of performance we heard, and the interesting range of music.

Then there was the important business of awards: Julien Van Mallaerts won the Jenny Wollerman Award for the best rendition of a song or aria sung in French; the Robin Dumbell Memorial Cup for the young entrant with the most potential was won by Thomas Atkins; the Rokfire Cup for the most outstanding competitor (i.e. through all the vocal classes that qualified) was Bianca Andrew; the runner-up to the Dame Malvina Major Foundation Aria was Christie Cook, who also took the New Zealand Opera Society prize.  The winner of the Dame Malvina Major Foundation Aria and of the Rosina Buckman Memorial Cup was Isabella Moore.

The audience had a most entertaining evening, hearing singing of a very high standard.  Some singers have greater natural gifts than others – and then it is what the singers do with those gifts that is important.  All showed signs of having received excellent teaching in languages as well as voice, and should feel well pleased with their efforts.

 

 

Remarkable Big Sing National Finale a brilliant success at every level

Posted on by Lindis Taylor

The Big Sing – National Finale 2012
Organised by the New Zealand Choral Federation

Eighteen competing and four guest choirs, evening compered by Christine Argyle

Wellington Town Hall

Saturday 18 August, 6.30pm

Twenty-two choirs, including four ‘guest choirs’ which are not eligible for an award, from 16 schools came to Wellington for the annual singing jamboree known as The Big Sing, managed by the New Zealand Choral Federation.  The festival began in 1988 when it was separated from the then Westpac Schools Music Contest which included chamber music groups as well as singers.

The latest figures showed that 148 schools, 235 choirs, and 8,440 singers registered to take part this year  nationwide.

The Wellington regional festival had been held on 6 and 7 June in which 33 choirs sang (compared with 36 each from Christchurch and Auckland). Of those 33, five were selected for the Finale: Chilton Saint James School – Seraphim Choir, Tawa College – Twilight Tones, Wellington College – Wellington College Chorale, Wellington East Girls’ College – Cantala, Wellington Girls’ College – Teal Voices.

Wellington choirs won no Golds; three of them won Silver awards, two, Bronze

The choirs to attend the Finale were chosen through an arcane process at the end of the regional festivals that had taken place in June.  They sang to each other and to their friends a families for three days till the three adjudicators had decided which of their pieces should be heard at the Final concert, when august people such as music critics might safely attend.

It’s a mighty production, actually starting around midday Saturday, when the ‘Massed Flash Choir’ sang and made a lot of noise in Civic Square. And the New Zealand Secondary Students Choir was on hand to astonish the drifters-by. Their programme included: Toia Mai (Paraire Tomoana)
Rytmus (Ivan Hrušovský)
Geistliches Lied (Johannes Brahms)
‘Mitten wir im Leben sind’ (Felix Mendelssohn)
Nemesi (John Psathas, commissioned for the 2011-12 NZSSC)
Hamba Lulu (traditional Zulu wedding song arranged by Mike Brewer)
‘Tofa Mai Feleni’ (Trad. Samoan, arr. Steven Rapana)

As the audience entered, most of the choirs were already there or coming in, and they performed in a variety of apparently spontaneous ways. The compere was Christine Argyle, announcer (presenter) on Radio New Zealand Concert. She described what the procedures were and how the organisers had reached this point. Her delivery and comments were useful, interesting and clear yet matched the gaiety of the evening excellently.

I could make certain general remarks about the music and its performance.

The thing feeds on itself. Year by year, the choirs observe the presentation ideas and stunts that proved successful and learn from them, so that few choirs confine themselves merely to singing the piece of music. There is a great variety in costumes, in members’ dispositions on the stage, their actions, hand and facial gestures, in extraneous and intraneous noises and sound effects.

Sometimes one can tell, after a while, how the organisers have been guided in deciding on the order of items: the strongest first or in the middle? grouped together so that contrasts are not too stark? a stunner at the end of the first half to encourage reckless drinks-buying at the Interval?

Those chosen for the Finale was dominated as much as ever by the schools that have become famous for their music, and a couple of them gained places for two choirs: Burnside High in Christchurch, Wellington East Girls’, Tawa, Marlborough Girls’ and Rangitoto colleges, and the two Westlake High schools on the North Shore; and among the private schools, St Cuthbert’s, Chilton St James, King’s College.

The choir that eventually won Platinum sang first: Bel Canto from Burnside High School, with the Gloria from a Mass by Hungarian composer György Orbán. A moderately big choir of tall girls, they are conducted by Sue Densem and also rehearse with a student conductor; they sang a conspicuously bright, non-pious movement with a brisk enthusiasm, sparkling with staccato and easy syncopation, at once setting the tone and a very high standard for the rest of the concert.

Nga Manu tioriori O Kapiti, a girls’ choir (a Reserve Guest choir) from Kapiti College sang ‘I am not yours’ by prominent New Zealand choral composer David Childs. (I heard a Kapiti College Choir sing it in 2009). The chair of the judges panel James Tibbles, in his witty overview at the end, remarked how David Hamilton seemed to have been supplanted as leading New Zealand choral composer by David Childs. Bridget O’Shanassy conducted. However, I thought it a somewhat limp, clichéd piece (ghosts of A Lloyd Webber?) which hardly encouraged the choir to demonstrate their real abilities.

All the King’s Men from the obvious college, is a new choir formed this year; they are conducted by King’s organist and choirmaster Nicholas Forbes. The choir won a Silver award with David Griffiths (only Davids need apply as New Zealand composers) setting of Curnow’s Wild Iron, a poem of short, staccato phrases that did not lend itself to easy delivery, but was handled with skill and intelligence.

From that unique musical by John Kander, Cabaret (Christopher Isherwood, stories, via John van Druten, play), Kristin School’s girls’ choir Euphony sang, with great resourcefulness and wit, ‘Don’t tell Mama’. They sat on low benches and took up changing dispositions, with splendid little vignettes, to create a brilliantly funny rendering, which won them laughter, on top of the shouts and screams (which are almost unvaryingly de rigueur). Cheryl Clarke’s jazz accompaniment was a vital ingredient; with at least some credit to conductor David Squire, it got them a Gold.

Macleans College Choir, Howick sang a Mendelssohn song, In Grünen. It could not have been a greater contrast; though a perfectly unobtrusive song, the experienced hands of their conductor Terence Maskill showed in the way they coped with its demands: in tonally variety, subtlety, in exploring its simple, Romantic era sentiment with integrity and vivacity, all of which they carried off with plain honesty. The judges agreed with my assessment of Gold.

Marist Stella, a guest girls’ choir from Marist College in Auckland, conducted by Rostislava Pankova-Karadjov, tackled Louis Armstrong’s last charts success, in 1968, ‘What a Wonderful World’, with open and unaffected sentimentality. Not the way Armstrong would have played it but, with their undulating tempi, care and feeling, he’d have loved them for it.

Mandate, another pun-title choir from Otago Boys’ High School, sang another comic scena ‘Kiss the Girl’ which I’ve heard sung at an earlier Big Sing. They have made the Finale several times since 1996 and have been conducted by Karen Knudson since 1998. It’s a barbershop number, tackled with manly confidence by this 35-or-so choir, with odd accompanying sound effects and discreet witty gestures. The crowd loved it and the judges too: Silver.

Christine calmed audience alarm by disclosing that SOS means ‘Sisters of Soul’. The auditioned girls’ choir of 38 members from Rangitoto College was founded in 1992 by Jillian Rowe, and they have reached the Finale most years since then. Under Karen Roberts they sang Beau Soir, an arrangement of a Debussy song that one might have had difficulty attributing. This short, not very remarkable song, in very fair French, had attributes similar to Macleans College Choir’s Mendelssohn; the virtue of unpretentiousness and plain, attractive musicality. It too won them a Silver.

Another Rangitoto College choir, The Fundamentals (how pervasive is the widespread fashion among pop bands for taking abstract nouns as their names), also sang Mendelssohn, in German: three poems by Heine together entitled Tragödie. Curiously enough, I heard them sung recently at a Bach Choir concert: this performance captured them with a little more youthful enthusiasm. The choice of these songs involved more than fundamentals, and their polish, dynamic variety and tonal precision, singing unaccompanied, were well handled by conductor, Jonathan Palmer. They demonstrated elegant expressive gestures which I thought might have gained them better than Bronze.

Bella Voce, from Marlborough Girls’ College, directed by Robin Randall, has done well over the years. They sang, with gestures that were not really integrated in the performance, the spiritual ‘Aint no grave can hold my body down’. It’s a well-schooled choir but they gained only Bronze. Here too it was useful to bear in mind that the judges’ decisions are based, not on the evening’s performances, but on their singing in the previous two days.

Burnside’s auditioned mixed choir, Senior Chorale, also under Sue Densem, sang the gently sentimental, a cappella, Earth Song. It might not be an especially arresting song but it made an impact through their slow, quiet, restrained approach, with exquisite dynamic and tone control. But there was real integrity here and they made quite an impression. I was not surprised at their Gold award.

The first half ended with The Seraphim Choir, the premier auditioned choir from Lower Hutt’s Chilton St James School, singing another disguised Debussy song, Nuits d’étoiles. Again in quite good French, conducted by Ella Buchanan Hanify and accompanied by Hugh McMillan, the song is hardly a masterpiece, but it is a good choice to offer judges of taste and refinement, who properly awarded Silver.

Wellington Girls’ College opened the second half; their Teal Voices (teal, the school colour) sang ‘Like a Rainbow’ which involved many repetitions of those words. Though he’s a prolific American choral composer of some renown, Bob Chilcott’s song seemed to do the choir few favours, though the performance, guided by Nicola Sutherland and Michael Fletcher employing small groups or individual voices attractively, was imaginative enough. A Bronze.

Viva Camerata from Wairarapa’s Rathkeale and St Matthew’s Collegiate, a guest choir, sang another comedy number, The Driving Lesson. The choir, conducted by Kiewiet van Deventer and accompanied by Adam Gordon, enacted the little skit effectively if without great flair, but its slender, somewhat obvious wit needed more adult skills than a teenage group is likely to command.

Saint Cuthbert’s in Auckland also entertained the crowd with ‘Johnny said No’; their auditioned choir. Saints Alive, under the direction of Megan Flint, with light and deft singing and discreet, comic gestures, carried it off in a certain droll style, which gained them a Silver award.

A mixed choir, Twilight Tones, an auditioned choir within Tawa College’s main choir, the Dawn Chorus, sang ‘Give me Jesus’. Alongside so many choirs exhibiting flair in both singing, histrionics and comic talents, something special is needed in presenting a traditional religious song. The singing, under Isaac Stone, was technically fine, under good, unostentatious control, but something was needed to lift it from the merely very good.

Saint Kentigern College from Auckland sent a large guest choir, Menasing (get it?). It’s unauditioned, in its first year. Their party piece was a highly effective performance, guided by Lachlan Craig and involving bass and drums, plus piano, as well as comic sound effects, of ‘I’ll fly away’. It elicited stentorian teenage shrieks as bassist took his instrument under his arm, like a guitar.

Con Brio is no stranger to the Big Sing. From Villa Maria College in Christchurch, they included a double-ended drum to accompany, otherwise a cappella, the Xhosa song, Dubula. Their party piece was to launch by throwing off their jerseys. But they also captured the African sound brilliantly. The fact that their conductor, Rosemary Turnbull, stood aside to some effect, might have prompted the remark by Tibbles about the conductor as sometimes surplus to requirements.

Wellington College Chorale, an auditioned choir, sang Toki Toki, a Malaysian song arranged by their conductor Katie Macfarlane. Bearing ethnic relationships in mind, it revealed a quality that could have been Polynesian, and it gave the performance an air of idiomatic ease. They judged their movements carefully and achieved a performance that was vocally skilled and visually effective, gaining a Silver award.

Cantala, from up the hill at Wellington East Girls’ College which had been in the news with its triumphant recent international tour also won (only) a Silver. Dressed in one of the prettiest of all the costumes, their droll song, Bitte Betti, was enacted with refinement and restraint but through that achieved a performance that both revealed some fine individual voices and excellent ensemble singing, not to mention the skilful direction of Brent Stewart.

David Squire conducts Westlake Boys’ High School choir, Voicemale, of round 50 boys. They sang ‘Embraceable You’ from Gershwin’s Girl Crazy, a fairly short song, but more than enough to prove splendid balance of the parts and ensemble, all in a perfectly gauged style, gaining them a Silver award.

Placed at the end of the concert was another choir with a punning conflation of a name, Choralation, from a conflation of Westlake Boys’ and Girls’ High Schools. In the previous three years they gained the Platinum Awards and this year had to settle for Gold. They did that under Rowan Johnston with the Gloria from Bob Chilcott’s Little Jazz Mass, which called for guitar, bass and drums as well as sparkling supported in by their pianist.

The Big Sing does not end there, but continued with snippets of a video of the lunchtime spectacles and speeches; the most insightful came from the chairman of the adjudicators’ panel, James Tibbles, hinting at the need to explore a greater variety of New Zealand composers, and of getting more representation of Maori music and singing which are distinctly absent, though glancing at the choirs appearing at the regional sessions, it looks as if choirs with a larger Maori element simply don’t quite achieve the level demanded. (I wonder whether, as in so many aspects of the way in which Maori prefer to follow paths in education and the arts that tends to view their own culture on terms equal to the rest of the world, their music achievements are disadvantaged by disregarding the importance of the universal world of classical music).

Thus the award for the performance of a song with Maori text went to Saints Alive from St Cuthbert’s, from a not very large field.

The Minister for Culture and Heritage Chris Finlayson spoke and handed out the awards, which have been mentioned in the remarks about each choir. His admiration for the entire fabric of the festival reflected what is certainly felt by all involved, that it is probably remarkable at an international level for qualities like collegiality and generosity, for the huge variety of musical styles and cultures that flourish, and that the size of the country makes possible the staging of an event of this kind that reaches such a wide and disparate range of communities.

It’s also necessary to recognise the extraordinary feat of organization by teachers and choral federation workers throughout the country in regional and national phases of the Big Sing festival.

It ended with all 750 or so, shoulder-to-shoulder on the choir stalls in massed singing of two South African songs, just rehearsed, conducted by Andrew Withington, conductor of the NZSSC. And organist Thomas Gaynor, a couple of days before leaving to take up a scholarship at the Eastman School of Music in New York State, accompanied the massed singing, by choirs and audience, of the National Anthem.

 

Interesting recital from first and second year voice students at New Zealand School of Music

Posted on by Lindis Taylor

William McElwee (tenor); Carl Anderson (bass baritone); Rebecca Howan (mezzo-soprano); Olivia Marshall (soprano); Tess Robinson (soprano); Rory Sweeney (baritone); Jamie Henare (bass)
Accompanied by Julie Coulson

St Mark’s Church, Lower Hutt

Wednesday 1 August, 12.15pm

This concert featured seven voice students from the New Zealand School of Music who were either first or second year students and it was a first public performance for four of them. I had noticed only a couple of the names in lesser roles of last year’s wonderful production of A Midsummer Night’s Dream: William McElwee and Tess Robinson.

Rory Sweeney had sung three Brahms Lieder a week before with the Bach Choir. He sang one of them again here: Feldeinsamkeit. In this context, with virtually no preceding German songs, it felt a bit naked and unsubtle; so it was interesting to hear his Donizetti aria, ‘Bella siccome un angelo’ (Don Pasquale) which preceded it, a good opera voice in the making, though still some way to go in command of vocal  character and agility.

Tess Robinson is a soprano who sang a familiar opera aria and then a couple of more adventurous songs. She introduced the first of them, Alleluia by American composer Ned Rorem in a literate manner, and sang its tricky, syncopated rhythms with spirit; and she spoke admiringly of New Zealand composer Anthony Ritchie’s work to introduce ‘Song’ – to a poem by Baxter. She sang it with real feeling, demonstrating  good control of her vocal resources.

Tess’s opera aria was ‘Batti, batti o bel Masetto’ from Don Giovanni in which she somehow expressed the duplicitous character of Zerlina’s plea.

Jamie Henare also sang an opera aria,’Vi ravviso. O luoghi ameni’ from La Sonnambula, with careful handling of the cadenza. There followed a Lied, his voice most imposing in Schubert song – ‘Der Tod und das Mädchen’ – sung as if without effort. With his natural bass voice he later sang ‘Deep River’ with marked ease from the very first notes.

And Rebecca Howan sang the first of Schumann’s Frauenliebe und -Leben: ‘Seit ich ihn gesehen’, with an appropriate simplicity of expression. Her first song had been a setting by Thomas Linley, of an 18th century family of composers; he composed an opera from Sheridan’s The Duenna (which, if you need to know, has had modern operatic settings by Prokofiev and Roberto Gerhardt). There were some florid passages that taxed her in ‘O bid your faithful Ariel fly’ from his incidental music for The Tempest, but her voice and demeanour are attractive.

The recital had started with tenor William McElwee singing two folk-song arrangements by Britten. They may have been placed first because it was felt that his later offering from Lehár’s 1928 operetta Friederike (about a love of the young Goethe – c. 1770: his role was sung famously by Richard Tauber) would leave the stronger impression. It was a shrewd move, for intonation was a problem with Britten’s songs, perhaps not helped by the accompaniment which is clever but, to my ears, needlessly thick and tonally obscure. In contrast he introduced ‘O Mädchen mein Mädchen’ with confidence and humour and sang far more accurately and with a certain aplomb.

Carl Anderson followed, with ‘Shenandoah’, singing guilelessly, with simplicity if not investing it with much magic. His second song was also an old favourite: John Ireland’s Sea Fever, again, he needed to take more pains with phrasing and to capture the poet’s powerful longing for the sea with more conviction.

Each singer introduced the songs with well-chosen, often amusing remarks, generally well projected, and acknowledged graciously the support of pianist Julie Coulson whose playing contributed greatly to the general self-possession they exhibited.

That doesn’t prevent human mishaps. First year student Olivia Marshall tackled a pair of arias: she suffered a memory lapse in Alessandro Parisotti’s ‘Se tu m’ami’ (from a collection called arie antiche purportedly by baroque and classical composers; but this one was by himself) which she sang otherwise with a charming voice, sensitive phrasing and a natural rhythm. Then she sang the aria ‘Let me wander not unseen’ from Handel’s L’allegro, il penseroso ed il moderato. An attractive timbre and handling of jolly dotted rhythms carried her through.

There will be further recitals in other venues from more advanced voice students. They are always very much worth looking out for.