4 ½ stars

It’s been a long time since the City Recital Hall in Sydney CBD was as jam packed as it was on Sunday afternoon (28 April 2024). The seats were filled all the way to the back of the Gods with the crowd pouring in for a much loved piece of music. Mozart’s Requiem was performed by the Sydney Chamber Choir accompanied by an expanded version of The Muffat Collective into a full size period orchestra. My my, what a wonderful mood the audience was in from the very beginning.

The first half of the program were made up of complimentary pieces, curated by Artistic Director of the Sydney Chamber Choir, Sam Allchurch, opening with “Singet dem Herrn ein neues Lied” (Sing to the Lord a new song) BWV225 by J.S. Bach to set the scene. This was a truly beautiful and joyous motet filled with sprightly phrasing and intricate interweaving of vocal parts as is characteristic of Bach’s technique. The opening movement splits the choir in two with call and response or echoes used. A simple and strong statement made by the first choir was embellished and developed further by the second choir. Lots for us to appreciate and lots for the choir to focus on. Outstanding in this part of the program were the second choir sopranos. The work was completed with a fugue and an Hallelujah which was strong and unified. The audience have huge applause to this work which seemed to take the choir by surprise.

Next was an Australian contemporary work by composer Iain Grandage titled “Why do we exist?”, originally commissioned for the choir by James O’Toole and Kat Friis to celebrate their son’s wedding. The work featured The Muffat Collective string section with organ and the choir, beginning with birdsong subtly provided by both singers and musicians. Through the work, the vocal parts rose to a higher range using dissonance in a similar way to Eric Whitacre’s signature style, whilst the bass parts gradually got lower. Lyrics were from poet Chris Wallace-Crabbe speaking of a child sitting in nature using all his senses to take in his surroundings.

The child sits, quiet as a moth,
Under murmuring trees in the garden,
A blackbird warbling grandly,
Wrens and wattlebirds
Doing their various things
Overhead and around,

And the child knows
He is very small in the garden
Smaller still in the world,
As nothing in the …
How do you call it?…
Universe.

So that being here,
Fragile in the rustling suburban garden
Among heaving ripples of green,
Is a kind of miracle.

In the end he is grateful.
— by Chris Wallace-Crabbe (b. 1934—)

Finishing with the whistles and clicks of birdsong again, the moment allowed the viewer to close their eyes and imagine themselves in the garden as well. It was a precious treat which so many city dwellers usually deny themselves and it felt delicious.

The final work for the first half was one by Mozart leading us towards the Requiem. “Ave, verum Corpus, KV618” was written as sacred piece with lyrics from a prayer written in the 1200’s. It was a simple and beautiful work which could perhaps have been performed with less volume, taking advantage of the good acoustics in the Hall and a perfectly silent audience.

After interval, the orchestra and choir were joined on stage by four soloists. Soprano Celeste Lazarenko and mezzo-soprano Helen Sherman who were only just days before gracing the same stage with the Australian Haydn Ensemble; also tenor Richard Butler and bass David Greco who are perfectly at home in this venue.

The opening movement “Introit” seemed to take a wee while to gel together but was solid by the time Lazarenko offered her first notes which were bold and clear. The choral sopranos and tenors stood out with their strength in the “Kyrie” whilst the “Dies irae” highlighted the magnificent articulation and clarity of the whole choir.

“Tuba mirum” began with the rich deep notes of Greco’s lower range accompanied by trombone (Nigel Crocker?) from the period instrument orchestra.

“Rex tremendae” is such a powerful movement. More could have been squeezed out of the ensemble for this one. “Confutatis” is another opportunity for extreme changes in volume that could be added if the conductor so desires.

“Lacrimosa” felt well rehearsed and beautifully unified in the choir. “Domine Jesu Christe” was taken at quite a tempo. The conductor was masterfully supported by Concertmaster Matt Greco (brother of bass David). The final “Communion” was absolutely perfect and a wonderful way to round up an excellent performance over all.

The audience were delighted and gave much long applause as Allchurch turned to face them with a deep “Phew”. Bravo!

Sydney Chamber Choir always present wonderful programs throughout the year and very much deserve your support. As we reach the end of the financial year, you might consider becoming one of the choir’s Guiding Lights or Leading Lights by offering an annual tax deductible donation. More info here: https://www.sydneychamberchoir.org/donate

Artists

Sam Allchurch – Conductor
Celeste Lazarenko – Soprano
Helen Sherman – Mezzo-soprano
Richard Butler – Tenor
David Greco – Bass
Sydney Chamber Choir
The Muffat Collective Orchestra

Program

JS BACH – Singet dem Herrn ein neues Lied (Sing to the Lord a new song) BWV225 (1726-27)
IAIN GRANDAGE – Why do we exist? (2016)
W.A. MOZART – Ave, verum Corpus, KV618 (1791)
W.A. MOZART – Requiem, KV626 (1791)

Related Links

Sydney Chamber Choir website: https://www.sydneychamberchoir.org/
Australian composer Iain Grandage: https://www.iaingrandage.com/
What’s on at City Recital Hall, Sydney: https://www.cityrecitalhall.com/whats-on/

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