To everyone in the Manly–Warringah Choir
I want to share a few thoughts after Sunday’s concert — not as a critic, but as someone who listens closely, cares about choral music, and recognises the work, discipline, and heart that go into a performance like this.
The programme you took on was no small undertaking. Mozart, Haydn, and the full Requiem in one afternoon is a challenge for any ensemble, and you approached it with commitment and courage.
Te Deum & Ave Verum Corpus.The opening Te Deum had tremendous energy, even if the brass and timpani occasionally made life difficult for you. None of that diminished the intent behind your singing.
But the moment you moved into Ave Verum Corpus, everything settled beautifully. The balance, the warmth, the phrasing — it was simply lovely. You treated the piece with real empathy, and it showed.
Haydn Concerto. Simon Wolnitzer gave a steady, well‑shaped performance in the Haydn. It was a pleasure to hear the orchestra in a different role before the Requiem.
Mozart Requiem. Once you began the Requiem, the whole room felt the shift. This is music that asks a lot of a choir — stamina, precision, emotional depth — and you rose to it. The Kyrie had drive and clarity. The Dies Irae was full of fire. The Rex Tremendae had real weight and shape. And the Lacrimosa was beautifully paced and genuinely moving.
The Soloists.The quartet blended with a natural ease throughout the afternoon.
Molly Ryan’s soprano carried with purity and poise; Amelia Blond brought warmth and steadiness; Spencer Darby shaped his tenor lines with clarity; and Matthew Avery’s rich, resonant baritone grounded the ensemble with real authority.
The Tuba Mirum — A Moment to Treasure. For me, the most unforgettable moment of the afternoon came in the Tuba Mirum. The trombone solo was played with such restraint and warmth that it created a stillness in the room — and when Molly entered, her voice had a purity that matched it perfectly. The gentle conversation between the two was tender, human, and deeply affecting. It was the kind of moment that reminds us why we sing, why we listen, and why this music endures.
Sanctus to the End. The Sanctus was bold, the Benedictus beautifully shaped by the soloists, and the Agnus Dei brought everything home with dignity and focus. The final return of the opening material felt earned — a true closing of the circle.
In Closing.Yes, there were moments when the modern brass overpowered you — that’s the nature of the modern instruments, not a reflection on your singing. What mattered was the musical intention, the unity of sound, and the emotional honesty you brought to the performance. And on those counts, you succeeded.
Before I finish, I want to acknowledge something else. After two hours of singing some of the most demanding music in the repertoire — after the concentration, the stamina, the emotional commitment — it seems profoundly unfair that you are then required to put down your scores, pick up a plate, and serve food and wine to the very audience you’ve just moved. Yet you do it with grace, generosity, and good humour, and we all gratefully enjoy the results. It’s another quiet reminder of the spirit of this choir: you give far more than your voices.
It was a performance to be proud of — thoughtful, committed, and full of heart. Thank you for the work you put in, and for giving your audience an afternoon of music that will stay with us.
George Paul