Above: Conductor of the Sydney Chamber Choir (centre) with members of the Muffat Collective Orchestra and alto soloist Sally-Anne Russell. Photo by Robert Catto.
A highlight for me of 2020 was the chance to hear Sydney Chamber Choir and the four members of Muffat Collective appear as string and keyboard pillars of a chamber orchestra delivering Handel’s Messiah for chamber forces at City Recital Hall.
My last concert prior to the lengthy, desolate cultural darkness that was the live performance silence COVID style was a wash of colourful early music colouring. Its subtleties and elaborately gestured communication with fine textural painting filled the emptier than usual hall.
Fast forward to present day, to the climax of SCC’s 50th anniversary year, and another choral masterpiece has just been beautifully rendered by similarly small, engaging forces from the two charismatic, capable ensembles plus their guests. The City Recital Hall was at near capacity across its three levels.
Above: Sydney Chamber Choir, pewriod-instrument Muffat Collective orchestra, soloists and conductor enjoy the applause at the conclusion of this performance.
JS Bach’s Mass in B minor was a transcendent and triumphant performance with which Sydney Chamber Choir concluded its 50th birthday year. And what a productive, hard-working year this choir has had, with landmark concerts in Australia as well as a tour of Germany. Bach’s successful text setting of the Catholic Mass showcases his ability to convey the drama within the rite, using so many of the Baroque ideals we love about the composer. It requires an informed, gifted and precise ensemble to present the rite with such clarity and colour as heard here.
Sydney Chamber choir excels in the delivery of crystal-clear, delightfully detailed polyphonic layering. This performance contained cleverly contoured fugues for several movements which had a pleasing crispness, precision within parts as well as across the entire undulating texture.
The fine storytelling within the mass, along with the momentum guaranteed by conductor Sam Allchurch’s guidance, was ably supported instrumentally via Mathew Greco’s charismatic, detailed leadership of the assembled orchestra.
The orchestral accompaniment was a rich catalogue of what is possible from Baroque instrumental filigree. Greco’s charismatic and well-shaped realisation of Bach’s signature lines unravelling beneath solo or choral utterance was an authentic and exciting delight.
Above: Alto soloist Sally-Anne Russell. Photo by Robert Catto.
Moments where Bach’s reduction of texture to solo or paired instruments plus voice created atmospheres for delivery of sections of the Mass, especially the contrasted scenes of exaltations within the Gloria and Credo were beautifully nuanced music and rich, shifting musical environments in this version.
To ensure the counterpoint of voice against accompaniment was pictorial, direct and precise, a squad of local opera and oratorio legends joined SCC for this celebration of Bach and vocal music. This creating a fit and fitting line-up indeed for a virtuoso choir’s milestone birthday.
Above: (l-r) Concertmaster Matthew Gereco and soprano soloist Sara Macliver presented a stunning version of Bach’s ‘Laudamus Te’. Photo by Robert Catto.
Carving out Bach’s intricate lines with exquisite blend and independently shaped trajectories above the instruments were none other than Sara Macliver (soprano), Sally-Anne Russell (alto), Andrew Goodwin (tenor) and David Greco (bass).
The narrative and ensemble excellence provided by such a team of soloists gilded the smooth swoop of choral nuance and colour on offer. Sam Allchurch’s response to the reverence and programmatic setting of praise and affirmation of faith utilised very appropriate tempo choices. Regardless of the emphasis or drama he searched to convey with such impressive momentum, the assembled early music experts and choir were up for the challenge, delivering evocative and seamless gesturing on this journey.
Above: (l-r) Tenor soloist Andrew Goodwin, Sam Allchrch and the Muffat Collective Orchestra. Photo by Robert Catto.
Sacred music with such well-decorated and interestingly shaped eloquence was the trademark of the hard-working JS Bach and family. During this performance, crowd members familiar with the B minor Mass or hearing its highlights for the first time could relish in the richness of the Baroque accent from a real compositional master and the masterful way each section was conveyed by this choir and co-celebrating group of soloists.
Especially exciting in the tapestry of text was the rendering of the ‘Agnus Dei’ by alto soloist and obbligato violins. Stillness has never been so fluid and beautifully paced. Another standout moment of expression and celebration of Bach’s style was Matthew Greco’s duetting with Sara Macliver during the forward reaching momentum of the ‘Laudamus Te’ from the Gloria section. This balance and simple complexity was a thrilling fulfilment of Bach’s skilful weaving of vocal and instrumental ornamentation of melody.
Above: (l-r) Corno da caccia soloist Michael Dixon and bass soloist David Greco perform th Quoniam Tu Solus Sanctus from the Gloria section of Bach’s Mass in B minor. Photo by Robert Catto.
David Greco’s bass solo moments were secure and inspiring in their dramatic focus. His solid, flexible sound exuded an evenness across all registers which was a joy to follow as the liturgical flow unfolded. Contribution to this work’s commentary in movements such as the lilting complexity of the ‘Et in Spiritum Sanctum Dominum’, which was particularly athletic and profound.
The performance was recorded for future broadcast by ABC Classic FM. We hope the compelling choral efforts, the effortless harnessing of all forces by current conductor Sam Allchurch and the promotion of the power of chamber choir voice in the country across all compositional styles from legendary Bach and way beyond can be immortalised beyond this memorable birthday year via a keepsake, 50th party bag recording.
The quality of this performance, whether witnessed live through a future recording puts Sydney and Australia right up there with European Bach and choral experts from the Antipodes to Europe. That deserves another fifty years and plenty more choral cake and candles to come.
We were fortunate to have Sydney Chamber Choir and Muffat Collective Orchestra at our party table for this final SCC birthday concert, the banquet of Bach and this version of a total Baroque hit to celebrate continued chamber choir excellence in this country.
