Here is my take for what it’s worth.
In the Bach Cantata the choir demonstrated excellent control, with beautifully judged crescendos and decrescendos that gave the music shape and expression without ever becoming excessive. The balance between the orchestra and the different sections of the choir was very well achieved. The men’s voices were a particular strength, producing a rich, firm and resonant foundation, while the sopranos brought clarity and a lovely brightness to the upper lines. The overall choral sound was disciplined yet warm, reflecting careful musical direction from Carlos.
The Holberg Suite provided an interesting and, in my view, unwelcome contrast. Grieg’s romantic musical language is rather removed from the Baroque character of the Bach and Vivaldi, and I found the change of style somewhat out of keeping with the overall Baroque influence of the programme. Nevertheless, it was a competent and well-played rendition, and the orchestra handled the work with assurance.
Without doubt, Vivaldi’s Gloria was the highlight of the afternoon. The bright, lively and confident opening immediately captured the joyful character of the work. Once again, the men’s voices were outstanding. They brought considerable strength and richness to the ensemble, particularly in Et in terra pax, while the tenors were especially impressive in Gratias agimus tibi. Their contribution throughout the work gave the choir a strong and satisfying foundation. The very best I have experienced. Well done.
The sopranos deserve special mention for the clarity and shine of their voices. They brought brilliance to Vivaldi’s writing without sacrificing musicality, adding considerably to the joyful character of the Gloria. Sophie Hamer and mezzo-soprano Elizabeth Cooper particularly impressed in Laudamus te, their voices complementing each other beautifully.
Elizabeth Cooper also sang Domine Deus and Agnus Dei with great sensitivity. Her warm mezzo-soprano was particularly effective in these more reflective movements. The Agnus Dei, traditionally written for alto, was nevertheless very well suited to her mezzo voice, bringing both depth and tenderness to the music.
The final Cum Sancto Spiritu was superb. The men’s voices again made a strong impression, combining power with good precision, while the sopranos added the brightness and lift characteristic of Vivaldi. The performance built naturally towards an exhilarating conclusion.
Above all, the outstanding feature of the Gloria was the balance achieved between the soloists, choir and orchestra. Each element could be heard clearly, yet none overwhelmed the others. That sense of proportion, combined with the strength of the men’s voices, the clarity of the sopranos and the sensitive solo singing, made the Vivaldi a particularly memorable performance. As I said to both you and Carlos after the concert: “As good as it gets.”
Overall, this was a concert of considerable musical quality. Carlos brought out the contrasting character of the works while maintaining a strong sense of ensemble and balance. The Choir can take great pride in a performance that was disciplined, expressive and, above all, musically rewarding. I felt the Choir actually enjoyed singing the Vivaldi. The strings standing to play projected beautifully and, in my view, was a masterstroke.
Bloody well done all.