Any concert referring to pop innovator Björk in its title is sure to evoke ideas of new experiences and unique performances. In the tradition of singing and soundscapes emanating from this artist and the far northern hemisphere, this was an exquisite event showcasing a high level on innovative performances. Plenty of commentary from musical director Paul Stanhope and The Idea of North brought us close to the artists, the musical concepts and lyrical concerns.
The versatility of the Sydney Chamber choir was on display as it sang and displayed the ingenuity and humble beauty of music from Scandinavia up to Björk’s Iceland. They collaborated successfully with amplified a cappella group from Australia, The Idea of North. The premiere of Naomi Crellin’s new work, Gøta’s Girl (2013) featured and clever arrangements of popular music dazzled.
The well-travelled Australian a cappella phenomenon which is The Idea of North were spellbinding. The members were at home switching from instrumental-style accompaniments and effects to vocal warmth for texts in ballad and pop-song styles. Their intense but smooth modern singing style suited the chosen pieces and demonstrated a large stylistic range and effortless handling of technical demands.
It was a treat for Sydney listeners to hear clear and clever setting of English lyrics beside the inflection of a quantity of Icelandic, Finnish and Swedish language. Even a contemporary manipulation of German syllables appeared for choir in a radical but aurally exciting treatment of Bach’s chorale ‘Komm, süßer Tod’, by Norwegian composer Knut Nystedt.
Popular Björk hits were transformed into choral arrangements with fantastic results. The essence of the originals intact, songs such as ‘Vökurό’ and ‘Earth Intruders’ were satisfyingly expanded. Sally Whitwell’s arrangement of the latter, where complex sharing of effects, texts and the stage by The Idea of North and the Sydney Chamber Choir was pure excitement for any Björk enthusiast present, or lover of choral music.
It was as if the two performance groups had been performing together for a long time. Their delivery of the Sigur Ros piece, ‘Staráflur’ was a beautifully unified, pared–down celebration of the text’s gentleness, celebrating a dreamscape with elf included-typical Viking fare really. Dan Walker’s new, transformative arrangement also exploited the sounds and storytelling talents of both the choir and amplified quartet.
The inclusion of ABBA’s familiar 1981 release ‘When All Is Said and Done’ as an expansive ballad from The Idea of North captivated the audience. The group’s singing of ‘Bumble Bee’ by Swede Anders Edenroth and Finnish composer Mia Makaroff’s ‘Butterfly’ introduced these popular Scandinavian miniatures to the crowd. They embraced us with familiar imagery from nature, deceptive plainness of sentiment and greatly varied musical texture.
The magic of this accessible concert concluded with Björk’s jazz performance art piece ‘It’s Oh So Quiet’, arranged by The Idea of North’s Naomi Crellin. The Sydney Chamber Choir sang as a big jazz band, and back-up singers. They went truly ‘Björk’ in this mode to end the night on white night high. If attending, the Icelandic musical talent inspiring this evening’s journey would have relished in hearing her music so transformed. She may have leaped up on stage to enjoy creating sound events with such singers.
GOING BJORK was a concert at the City Recital Hall, Angel Place on Saturday September 13.