Yorkshire Philharmonic Choir Reviews.
Yorkshire Phil success out of their comfort zone
Wakefield Cathedral Saturday March 8 2008
Classical Jazz
“If that was a performance when you are ‘out of your comfort zone’, then you should leave it more often!!”. This comment has been repeated so many times since the concert on March 8th which included a brilliant performance of Will Todd’s Mass in Blue. Even Will Todd himself said “What a fantastic evening, it was the best performance ever by a choir of this size”, and in discussion afterwards mentioned that he would like to write something specifically for the Yorkshire Philharmonic Choir. The whole aspect of March 8th was different from any other concert the choir has ever promoted and that in ‘daring’ to do it, it was a resounding success!
The number of singers on stage was the largest ever, there were extremely talented groups of musicians, both amateur [the talented teenagers from Wakefield Grammar Schools Swing Foundation Big Band], and professional [John Helliwell’s quartet - Crème Anglaise]. The audience was not only one of the largest seen in the Cathedral [with the exception of Christmas], but the whole concept of the concert attracted a new audience.
As one member of the audience inferred – “what comfort zone – it was merely a ‘different’ zone, and the way choir members took it upon themselves to learn a piece of music as difficult as Mass in Blue in just over two months is great credit to all the singers, conductor and accompanist”.
Here’s a quote from the Wakefield Express;
‘This jazz-based interpretation of a traditional Latin mass is far removed from the classical [in both senses of the word] choral repertoire and the Yorkshire Phil’s decision to take it on spoke volumes not only about the choir’s skill but also its confidence in that ability’.
It is this kind of performance which keeps the Yorkshire Philharmonic Choir at the forefront of the choral world. By aiming to leave people wondering ‘what might be round the corner’, it ensures that they are a ‘must see’ choir!!
Alexander makes his mark with the Phil
Dewsbury Town Hall Saturday November 17 2007
Last Night of the Proms
It would have taken a singer of outstanding ability to stand out from the quality line-up brought together by the Yorkshire Philharmonic Choir for its inaugural Last Night of the Proms - and in Alexander Grove the audience came face-to-face with just such a talent.
The young Manchester-based tenor has spent time studying in Italy and it showed in his powerful presence and mannerisms, while his voice as exhibited on such classics as O Sole Mio and Funiculi Funiculà would surely meet the approval of that nation's most demanding audiences.
In lauding Grove, however, let me take nothing away from the contribution of his fiancée Louise Sjostedt, as good a soprano as has shared a stage with the 'Phil' in recent years, while the choir itself once again demonstrated its consummate versatility, be it while belting out Rule Britannia or dextrously handling the complexities of Borodin's Polovtsian Dances.
It was also a pleasure to hear regular accompanists the Amici Ensemble bolstered to a 40-strong complement, which proved more than capable of doing justice to the music, not least a delightful take on the Pizzicato Polka.
The whole point of attending a Last Night of the Proms is, of course, knowing just what you'll be hearing and it's fair to say there was nothing left out, from the rousing opening Zadok The Priest to the closing Jerusalem via Rule Britannia, the Hallelujah Chorus and all points between.
To be honest I find the laid-on-with-a-trowel jollity and audience participation of the Proms finalé at best irritating and at worst downright embarrasing to watch on television, but by the end tonight even I was sufficiently swept up by the spirit of the occasion to join in. "And did those feet in ancient times..." You know the rest!
David Pickersgill - Wakefield Express
Capacity audience.
Wakefield Cathedral Saturday July 14 2007
Brass and Voices
It was a delight to see a capacity audience at Wakefield Cathedral for the recent ‘Brass & Voices’ concert. Bringing its 2007 season to a close, the Yorkshire Philharmonic Choir were joined by the Rothwell Temperance Band for a wonderfully varied programme of music, encompassing the fullest range of musical dynamic and style.
The Yorkshire Philharmonic, guided by its Conductor and Artistic Director Andrew Padmore, started the evening with Handel’s ‘Zadok the Priest’. The impact of the Choir’s fortissimo entry made all the more poignant by the preceding subtle crescendo produced on the organ by accompanist Thomas Moore. Followed by the contrasting ‘Ave Verum’ by Mozart, the Choir demonstrated its ability to quickly adjust to the subtle balance and timbre demanded.
On the heels of Andrew Padmore’s direction of Fauré’s Cantique de Jean Racine and Brahms How Lovely are thy Dwellings, David Roberts took over the baton to lead the Rothwell Temperance Band in the rousing ‘Fanfare and Jubiloso’ by Curnow. Through the music of Phillip Sparke’s ‘Madrigalum’ and Eric Ball’s ‘High Peak’, anticipation grew as the programme moved towards the World Premiere of a composition by young composer Benjamin Oliver.
Born in 1981, Ben grew up in Chatham, Kent, before studying for his MMus in composition at Leeds University, graduating with distinction in 2005. He has continued to study composition at the University of Sussex, but has maintained links with Yorkshire through the support of the Performing Rights Society Foundation and Making Music, the national organisation which supports and champions voluntary music. As a part of Making Music’s ‘Adopt a Composer’ scheme, Ben worked with the Yorkshire Philharmonic Choir to create a new work for choir and brass.
Along with many others in the audience, I was eager to hear Ben’s creation. Written in two distinct sections, this composition was challenging on a number of levels, for both performers and listeners. The performance challenges were notably those of balance between brass band and chorus (including solo soprano), whispering technique and close dissonance in the vocal parts, and exposed percussion playing requiring the utmost precision in delivery. To my mind, challenges met by a well directed performance which required great control and musical awareness of all the performers.
The quality of performance allowed the challenge for the audience to exude from the work itself. The first section takes its stanza from Dylan Thomas’ ‘Do Not Go Gentle Into That Good Night’. The rhythmically descriptive music matches its text lines of ten syllables, cleverly moulded into periodic legato phrases appearing behind a more agitated line. The percussion is a dominant feature of the scoring, yet remains complementary to both the text and the brass band texture. The brass is not simply a passive accompaniment though, rather it provides a binding matrix through which the vocal and percussion lines weave to create the required texture. The text for the second section is the poem ‘Death Is Nothing At All’ by Canon Henry Scott Holland. The connecting theme of death is treated quite differently here; more conventional in both structure and tonality, but no less respectfully. The composer creates a sense of noble calm during the opening bars, moving to a more dance-like section with the chorus being more dominant and the brass taking a mainly accompanying role. The intention of making us think of our lost loved ones with affection rather than sadness is supported by the transition into a calmer mood, encouraged by the solo soprano, who is joined by the choir to conclude this thought provoking work.
The works of Elgar, [Give unto the Lord], Bach/Gounod, Parry [I was Glad], Shostakovich and Khachaturian were also included in the rich mix of music during this very entertaining concert, with brass band and choir combining to perform a finale of Verdi’s ‘Anvil Chorus’, (which seemed more marching band tempo than expected), followed by a sensitive performance of Fanshawe’s ‘The Lord’s Prayer’ to provide an apt conclusion.
Choir exploits dramatic possibilities to the full.
Huddersfield Town Hall Saturday June 23 2007
Elijah - Mendelssohn
Duruflé’s Requiem and Stainer’s Crucifixion
Since its premiere in 1846, Mendelssohn’s Elijah has been one of the twin pillars of the English choral society repertoire. In some respects it is a more satisfactory vehicle for big choirs than the other pillar. After all, Elijah was initially composed with large scale nineteenth century forces in mind, which was not actually the case with Handel’s Messiah.
Arguably too, the choir is more integral to the drama in Mendelssohn’s great work, and it is also inarguable that it has some writing of immensely stirring sonority when choir, orchestra and organ are combined.
The Yorkshire Philharmonic Choir, conducted by Andrew Padmore, with the excellent Amici Ensemble and organist Thomas Moore, exploited the dramatic possibilities to the full. The choir achieves a very high standard, and the fact that it includes some fine voices was emphasised when a group of singers from within the ranks combined for a beautifully sung quartet of angels.
In addition there was a first rate team of soloists, headed by the experienced Glenville Hargreaves, who sang with great authority despite having to overcome some hay fever hoarseness. The contralto Gaynor Keeble also made a strong impression, not least in the air ‘Woe Unto Them’. Soprano Kate Valentine sang with a wonderful clarity of tone and was brimming with confidence, we will all remember her ‘first’ Elijah!
The days when Huddersfield Town Hall would be packed to hear a performance of Elijah seem to have passed – at least when the choir is from ‘out of town’ – for the attendance was rather slight. But whether audiences come or stay away, performing standards in the region remain high.
William Marshall - Huddersfield Examiner
Human voice at its best.
Wakefield Cathedral Saturday March 24 2007
Duruflé’s Requiem and Stainer’s Crucifixion
The enjoyment of sacred music should always provide a unique spiritual experience and that was certainly true of this concert in which the Yorkshire Philharmonic Choir with guest soloists under the magisterial baton of maestro Andrew Padmore performed the relatively modern Requiem by Maurice Duruflé, followed by that classic of late Victorian music, Stainer’s Crucifixion. The Duruflé Requiem, with its undertones of Gregorian chant and reminiscent of Gabriel Fauré's renowned composition, may be a genteel work. but it has a pulse of its own which variously soars and plunges with passages of power amid the balm. Presented with such vocal challenges, the choir delivered an authoritative performance which took full account of both the dramatic and elegiac qualities of the music. Soprano soloist Rebecca Atkins enchanted the audience with her heartfelt rendition of the Pie Jesu, imbuing every note with deeply soulful entreaty, later reiterated so movingly by the choir in the Libera Me and In Paradisum sections. Lacking the structural complexity of some church music, Stainer's Crucifixion has other demands to make of its performers. Narrating the events of the Passion of Christ, this tuneful work is characterised by a simple sincerity which the choir unfailingly conveyed. The mellifluous tones of accomplished tenor William Helliwel! and the richly vibrant voice of bass Miles Taylor combined in So Thou Liftest Thy Divine Petition to produce a duet of rare beauty. With organ accompaniment by Thomas Moore, this concert provided magnificent examples of the power of the human voice to express in song the profoundest Christian sentiments, a fact not lost on the audience whose vigorous applause on conclusion reverberated around the cathedral for considerable time. ROBERT COWAN
Seasonal music with truly international flavour.... choir never fails to impress.
Wakefield Cathedral December 23rd 2006
Carols from around the world with the girl choristers from Wakefield Cathedral
Much as I enjoy carol concerts wholly comprising of traditional English carols, it was wonderfully refreshing to be treated to a programme of seasonal Christian music with a truly international flavour. Side-by-side with quintessentially English classics such as Once In Royal David's City and God Rest Ye Merry Gentlemen, the Yorkshire Philharmonic Choir performed carols from Croatia, Puerto Rica, Poland, Australia, and even China. In doing so it demonstrated great linguistic as well as musical prowess, singing in French, German. and Mandarin! Conducted by maestro Andrew Padmore, whose natural flamboyance made him an excellent host for the occasion, the choir displayed great versatility and musical accomplishment in adapting to the widely divergent styles and tempos involved. Whether rising to the challenges of a spirited or a more subdued, spiritual piece, the choir never failed to impress with its purity of tone and delightful harmonising capability. The high-calibre solo performances by Miles Taylor, with his deeply rich and resonant bass voice, in The Three Kings made a particular impact. Wakefield Cathedral girl choristers under director and organist Thomas Moore, together with a brass quintet of Suzanne Pymm and Richard Larder on trumpets, Paul Kampen on French horn, Nick Walker on trombone, and Nick Dolling on tuba, played an integral part in the evening's performance and contributed richly to its huge success. This was a unique musical experience, enormously appreciated by a packed audience whose rapturous applause on conclusion was slow to subside. ROBERT COWAN
An Animated Performance -
an exciting and memorable experience.
Dewsbury Town Hall November 18th 2006
Requiem - Karl Jenkins
Benedicite – Andrew Carter
In These Stones Horizons Sing – Karl Jenkins
What better credits can you get than – Another reputation-enhancing night, or An exciting and memorable experience, and A really wonderful evening- so exciting and different.
Well, exciting it was! From the moment that one of their choir members was interviewed on Classic FM on Friday afternoon the day before the concert, the Yorkshire Philharmonic Choir knew they were up for something completely different; the audience at that time of course didn’t know what to expect, but when it came it was truly awesome.
From that first sublime movement in the Jenkins Requiem there was an electrical feeling of expectancy, and we weren’t disappointed. This tranquil beginning developed into a great whoosh of sound in the Dies Irae that hit the audience in Dewsbury Town Hall like a tsunami; the choir and orchestra being driven along at great speed by conductor Andrew Padmore. This was going to be the style from now on with, as Jenkins puts it in his own notes – “I have set the usual Latin movements, but in keeping with my usual trait of drawing from other cultures, I have also set five Japanese haiku ‘death’ poems”. These poems were sung exquisitely by six female soloists taken from the choir’s ranks and accompanied on the shakuhachi flute hauntingly played by Joe Browning a graduate of York University who lives locally in Huddersfield. These five gentle movements gave the choir, and audience, a chance to get their breath back before the next wall of sound came along!
In between times we were treated to a beautiful Confutatis in more traditional chordal style which showed all the qualities of the Yorkshire Phil we have come to expect, and a breathtaking Pie Jesu duet from young treble James Micklethwaite and another soloist from the choir – Christina Jones. Their tonal quality matched remarkably well and both singers must have a great future opening up before them.
Michael Anderson, Head of Contemporary Art Practice at Leeds University and three of his students had devised a sequence of visual animations which complemented the music and these were projected on to screens whilst the choir sang. It is true to say that most people in the audience found the visuals a moving addition to the music. This cross art form approach is quite unique and the YPC are to be congratulated in bringing together music and art in this way.
After the interval, choir and orchestra then went headlong into Andrew Carter’s Benedicite which was written in 1989. Carter employs a children’s chorus and the sections composed for them were performed with great aplomb by the boys of Queen Elizabeth Grammar School Junior School, Wakefield. This work is difficult, it is written in eleven sections and each one keeps the singers and orchestra on their toes with endless time changes to trap the unwary. Once again Andrew Padmore’s leadership excelled as he masterfully reined in the occasionally over-exuberant percussion section of the orchestra.
The final work of the evening was Jenkins’ “In These Stones Horizons Sing” yet another piece not for the fainthearted! It was commissioned for the opening of the Welsh Millennium Centre which was opened in November 2004 by Her Majesty the Queen, and not surprisingly most of it is sung in Welsh. This is the mother tongue of the baritone soloist on this occasion – Paul Carey-Jones who will surely one day step into the shoes of Bryn Terfel, and who lived up to his billing of having “a creamy baritone voice and striking vocal achievement”. Paul was likewise complimentary on the choir’s ability to sing in Welsh! The piece is written in four sections, one of which was enhanced by a brilliant extemporisation by the outstanding saxophonist John Helliwell of ‘Super Tramp’ fame!
The orchestra, the Amici Ensemble, once again did themselves proud and the choir is to be congratulated on performing three difficult quality works in one evening; the consummate musicianship of conductor Andrew Padmore underpinning the whole event. It was all very powerful and uplifting, or as one member of the audience put it “I had never been to a classical concert before, and was completely bowled over!”
La musique sacrée enchante
le public (Sacred Music delights the public)
Concert in Bayeux Cathedral, August 5th 2006
An outstanding concert with a large audience on Saturday for the concert by the Yorkshire Philharmonic Choir at the Cathedral
The audience filled the nave and the side aisles, to welcome the 75 choir members, organist, brass quartet [2 trumpets, 2 trombones] and saxophone. Polyphonic under the leadership of Andrew Padmore, the choir includes 10 basses, 11 tenors, 21 contraltos and 33 sopranos as well as an organist, not to mention saxophonist John Helliwell, who was a member of the group ‘Supertramp’.
To begin the evening, the choir gathered at the entrance to the Cathedral and sang a solemn hymn, enhanced by the organ and applauded loudly by the audience. After the presentation of a present to the President of the Friends of the Cathedral, and of a letter from the Mayor of Wakefield to the Mayor of Bayeux, the choir performed a dozen works both classical and modern, by Handel Faure, Herbert Howells, Morton Lauridsen and Andrew Padmore. Sacred music, music for brass, music for organ – all were performed superbly. The ‘O Magnum Mysterium’ by Morton Lauridsen dazzled the audience – the choir disappeared behind the high altar, and the singing, enhanced by the saxophone, seemed to come splendidly mysteriously from afar. The ‘Ave Verum’ by Mozart delighted the public, the ‘Psalm 150’ by Andrew Padmore with the brass and the basses was also appreciated. The final piece ‘I was Glad’ by Parry was greeted with enthusiastic applause and a standing ovation. -"La Renaissance" - August 8th 2006
Une exceptionelle première prestation.
(An exceptional first performance.)
St. Catherine’s Church Honfleur, August 4th 2006
On Friday evening at St. Catherine’s Church, the audience were thrilled by the quality of the performance of an 80 strong English choir.
As the name suggest the choir comes form Yorkshire in the North East of England, and regularly gives concerts at Wakefield near Leeds. Formed in 1953, today it comprises over a hundred members, of whom 80 delighted the public at St. Catherine’s for one and quarter hours last Friday evening. Including singers male and female of every age, from students to the retired, the choir has been conducted since 1989 by Andrew Padmore – a dynamic leader with ambition for the choir. It’s the first time the choir has sung in Normandy.
John Taylor, who introduced the items in the concert, and whose French was impeccable said “On discovery of this magnificent church it was thought that the choir simply had to sing here and our approach to Fr. Ruffray was positive, thanks to his welcome”.
Having already made several tours abroad [the choir performed in the Dordogne on its last trip to France in 2002] – this year the choir chose to visit our region, and two concerts will follow the one in Honfleur, at Bayeux on Saturday and Coutances on Sunday.
The dynamic approach of the Director of Music infected the whole choir. And the large crowd at St. Catherine’s, in delight and admiration, appreciated the tone and the quality of both the choir and the musicians [organ, trumpets, trombones and saxophone] in the offering of classical and modern works from the 16th to the 21st century. The tone was set by the first piece – ‘Zadok the Priest’ by G.F. Handel where the quality of the choir resounded magnificently in the wooden church. The varied programme was applauded in its entirety with the same enthusiasm, from the three sections of Faure’s Requiem [performed without libretto] to ‘Psalm 150’ set to music by the leader of the choir, to the ‘Cantique de Jean Racine’ and the final ‘I was Glad’ by Hubert Parry.
The public was delighted and called for more – they were satisfied with two encores – ‘Joshua fit de Battle of Jericho’ by John Rutter, and the famous ‘Oh when the Saints’ which the public sang with the choir led by its leader!
La Philharmonic Choir acclaimée par le public
(Public acclaim for the Philharmonic Choir)
Concert in Bayeux Cathedral, August 5th 2006
The Yorkshire Philharmonic Choir played before a large audience on Saturday evening at the Cathedral.
The dynamic approach of the leadership of Andrew Padmore set the tone immediately for the 75 amateur choir members, so obviously delighted to be singing together.
There was nothing static in this choir. They moved during the concert from the steps at the entrance to the Cathedral, to the centre, to perform works by Handel, Faure and Parry. A highlight was the performance by tenor soloist Simon Allatt. Then the brass quartet played works composed by Andrew Padmore the conductor of the choir. Organist Thomas Moore played the Psalm Prelude Set 1 No 2 by Herbert Howells. The small choral group sang in the North Transept, ‘O Magnum Mysterium’ by Morton Lauridsen – an opportunity for reflection – accompanied by the celebrated saxophonist John Helliwell [former member of the group Supertramp!]. The choir finished with ‘I was Glad by Hubert Parry, a piece sung at each Coronation.
Sunday the choir continue their concert tour in the Cathedral of Coutances before returning home. By performing Faure's popular Requiem and Rutter's Feel The Spirit on the same programme, Yorkshire Philharmonic Choir together with the Amici Ensemble, conducted by maestro Andrew Padmore, evoked moods which ranged from deep-felt sensitivity to unbridled exuberance. - ‘Ouest France’ - August 8th
2005/6 Concert Season press reports
From sensitivity to great exuberance
10 June 2006 19:30 - Wakefield Cathedral
Faure REQUIEM
Rutter MASS of the Children and
Feel the Spirit
By performing Faure's popular Requiem and Rutter's Feel The Spirit on the same programme, Yorkshire Philharmonic Choir together with the Amici Ensemble, conducted by maestro Andrew Padmore, evoked moods which ranged from deep-felt sensitivity to unbridled exuberance.
Cleverly interposed between them, Rutter's Mass Of The Children presented a skillful fusion of the sublimity of the former piece and the burgeoning energy of the latter.
Lacking the fiery 'dies irae' element traditionally found in Requiems, Faure's highly personalised work has often been referred to as a 'lullaby to death',and with wonderful vocal control the choir conveyed the great poignancy of the text, especially in the Introit and Kyrie, and Agnus Dei movements.
The accomplished bass Thomas Guthrie and delightful soprano Nicola Mills provided highlights of their polished performances with the Libera Me and Pie Jesu respectively. In singing the hymn Awake, My Soul, the choir of Queen Elizabeth Grammar School Junior School made an impressive start to Mass Of The Children, a mass in five movements without 'Credo' but including a beautifully melodic 'Kyrie' and towering 'Gloria' with dramatic crescendoes. The effective blend and succession of children's and adults' voices was a notable feature of this inspiring work which draws on a combination of Latin and English texts. When mezzo-soprano Melanie Marshall made her appearance for Feel The Spirit, those unfamiliar with the work would have had little idea of the explosive energy they were about to witness in both the soloist and choir. Comprising seven spirituals including Joshua Fit The Battle Of Jesicho and When The Saints Go Marching In, the vastly increased tempo set the pulse rate racing, inducing even some of the more sedate choir members to dance on the spot. The tumultuous applause which broke out at the conclusion of the evening provided unequivocal testimony to the audience's sheer delight and its enthusiastic appreciation of a truly memorable musical experience. ROBERT COWAN
Concert was memorable
1 April 2006 19:30 - Wakefield Cathedral
Mozart VESPERS and EXSULTATE JUBILATE
Vaughan Williams OXFORD ELEGY
Handel DIXIT DOMINUS
It would be difficult to conceive of a more warmly appreciated concert than that given by the Yorkshire Philharmonic Choir which, together with the Amici Ensemble and guest soloists, devoted the first half of the evening to three sacred works by Mozart in celebration of the 250th anniversary of the composer's birth.
The spiritual tone of the evening was set by the choir with great delicacy in performing the beautiful four-part motet Ave, Verum Corpus with which the following Exsultate Jubilate showed marked stylistic contrast. This magnificent operatic solo cantata-motet, originally written for castrate voice, was wonderfully sung by soprano Kate Valentine, who exercised unfaltering vocal control and showed impressive coloratura, especially in the higher ranges. Equally exquisite was her interpretation of the Laudate Dominum in Mozart's six-part polyphonic masterpiece Vesperae Solennes de Confessore in which chorus and instrumentalists combined to sublime effect, with timpani and trumpets of the Amici Ensemble making their mark in the glorious Magnificat of the piece.
The choir faced some real challenges in the demanding scores, but surmounted with apparent ease such difficulties as the notoriously complex double fugue of Tu es sacerdos in aeternum of Handel's vibrant Dixit Dominus, in which the basses particularly excelled. In An Oxford Elegy by Ralph Vaughan Williams, a hauntingly melodic work suffused with an all-pervading nostalgia with words by Matthew Arnold, recited with insight and sensitivity by Graham Heley, the choir also fulfilled its role as an extension of the orchestral backing of the poem with great lyricism.
Under the dynamic baton of maestro Andrew Padmore, the choir, ensemble, and accomplished soloists Adam Green (bass), Olivier Dumait (tenor), Alison Hudson (mezzo soprano) and Sasha Manning. (soprano), as well as Kate Valentine, made this a memorable occasion and fully deserved the rapturous applause which greeted them on conclusion. Robert Cowan
Handel - 'MESSIAH'
19 November 2005 19:30 - Dewsbury Town Hall
Lynne Dawson - Soprano
Margaret McDonald - Contralto
Joshua Ellicott - Tenor
Ben Davies - Bass
Manchester Camerata
It was unfortunate that more people did not attend Dewsbury Town Hall last Saturday evening (19 th November) to hear the Yorkshire Philharmonic Choir’s uplifting performance of Handel’s Messiah.
Under the direction of their lively conductor Andrew Padmore the audience experienced a thoroughly musical and artistic interpretation of this favourite of oratorios. Dr. Padmore clearly believes in keeping this choir on its toes with the choruses being driven along by him at an invigorating speed allowing fugal entries to have an extra sense of musical excitement, yet still enabling the choir to project the words with absolute clarity and maintain a strong sense of phrasing. In particular the final choruses conveyed the feeling of triumph and victory suggested by the words, the “Amen” chorus being particularly effective at this lively tempo. The various voices of the choir were also heard to particularly good effect in the answering passages of the chorus “Lift up your Heads”.
The performance was further enhanced by a quartet of extremely able and experienced soloists. The tonal quality of their respective voices all seemed particularly suited to this performance. Soprano Lynne Dawson, appearing for the first time with the choir, sang with effortless ease to produce a controlled lightness of touch in her arias. The contralto Margaret McDonald, who has already sung many times with the choir, produced beautiful accounts in her arias, particularly in the aria “O thou that Tellest Good Tidings”. Tenor Joshua Ellicott again delighted the choir and audience adding a measured dramatic element to all his recitatives while ex-choir member Ben Davies showed great assurance particularly in the demanding arias “Why do the nations, and “The trumpet shall sound”
The audience were treated to a fine exhibition of accurate and sensitive playing by the Manchester Camerata. Perhaps their sound was a little too strong at some moments in some of the accompaniments to the arias, whereas the delightfully executed trumpet solo could have been arranged to project more to the back of the hall.
Here was a thoroughly rewarding and musical experience, confirming the commitment and vitality of this choir and associated musicians to producing performances of an extremely high standard. -H.M.C.
Rossini – PETITE MESSE SOLENNELLE
Barber – AGNUS DEI
Sunday 12th November 2005 - Wakefield Cathedral
Dawn Furness –Soprano
Gaynor Keeble – Contralto
Banventura Bottone – Tenor
Thorbjorn Gulbrandsoy – Bass
Piano and Harmonium took centre stage at the Cathedral last Saturday. This is the only accompaniment Rossini calls for in his Petite Messe Solennelle. It’s perhaps just as well because it wouldn’t have been possible to accommodate an orchestra ‘on stage’ with the 96 singers of the Yorkshire Philharmonic Choir. Such is the success of the choir that their numbers are steadily rising – oh when will we get a proper concert hall in Wakefield which will be able to promote concerts of this nature?!!
Rossini is well known for suggesting that music “should be fun” and this work is no exception; it is neither short, nor solemn. Whilst Rossini’s choice of instrumental accompaniment could be described as different, Thomas Moore and Gareth Green on piano and harmonium respectively nonetheless gave very accomplished professional performances.
This was an exceptionally exciting version by the Yorkshire Philharmonic Choir, and Andrew Padmore their conductor had taken the opportunity of pushing the tone much more towards an Italian sound than is usually heard, and with his chosen tempi in the two big choruses, removed all possibility of any reserve that English choirs hang on to. It was thrilling to see the choir throw itself into such an interpretation, which made it nearly impossible for the accompanist but Tom Moore was outstanding, and left the audience in awe of the overall performance.
The vocal quality of the four soloists was exceptional, but the tenor aria Domine Deus sung with great romantic gusto by Bonaventura Bottone, and the Agnus Dei exquisitely performed by Gaynor Keeble were the highlights. It was the finest performance of the last movement I have ever heard, the power and sincerity of the soloist and the perfect accompaniment of the simple inerjections by the choir made the hair stand on end!
