Review by Gabrielle Scherrer
We expected a polished performance of interesting pieces and we were not disappointed!
The high standard of singing and playing and the imaginative interpretation of these great works created a wonderful evening of music. It is heartening to see such accomplished musicians totally immersed in their craft and creating an exciting performance.
The first half of the program was led by the respected Baroque violinist Rachael Beesley. As always the ensemble playing was exemplary; one has the feeling the players are of the same mindset and function as a unit. The drive and the shaping of phrases carried the music along, the bass line was the motor and each part fitted in.
The opening piece, ‘As steals the morn upon the night’ HWV 55, featured the rich, plaintive sound of the Baroque oboes and bassoon played by Brendan O’Donnell and Kailen Crisp and Jackie Newcombe. The words are from Shakespeare and the music is a vivid evocation of the English countryside. The accomplished singers, soprano Jessica Dean and tenor Kyle Stegall, wove the text into the orchestral parts; it was a delight to hear.
The Bach Cantata BWV 51 may have been written for a court performance before Bach’s Leipzig years: the virtuoso trumpet and soprano parts suggest specific performers. It is his only church cantata scored for a solo soprano and trumpet. He composed it for general use (ogni tempo), in other words not for a particular date in the church calendar. The cello, played by Thomas Marlin, had an important solo part and the whole bass line was a wonderful balance to the arresting higher voices of the soprano and the sweet piercing sound of the Baroque trumpet, played by Leanne Sullivan. The organ had an important role, precise playing throughout by Joshua von Konkelenberg .
The closing chorale is a Choral Fantasia, the soprano sings the unadorned melody to a trio of two violins and continuo, leading to a festive Alleluja. An unusual ending to a brilliant sounding cantata.
After the interval a full orchestra and choir gathered for the performance of Handel’s Ode for St Cecilia’s Day, first performed on November 22nd in 1739. It was popular in its day and still is 285 years later! It is so fresh, tuneful, varied and effective and this performance brought out all these aspects.
The words are from Dryden’s poem and it celebrates the power of music to shape the world. His verses mention various instruments, “the trumpet’s loud clangour”, “the thundering drum”, ”the soft complaining flute”, “sharp violins”, “the sacred organ” – what an opportunity for Handel to draw out the talents of each player and how they rose to the occasion!
The Cathedral Choir, trained by Anthony Hunt who competently conducted the performance, had a full, mellow tone , a good blend of parts and precise timing in their echo passages. It must have been a memorable experience for the young singers, they can be proud of themselves.
Jessica Dean and Kyle Stegall masterfully captured the style and technique of the vocal parts. The phrases were virtuosic, but sounded easy and spontaneous, admirable performers. Each instrumental soloist shone through when necessary but blended into the group, too. The powerful tympani played by Amanda Grigg brought out the climaxes. It was a demanding program for all the performers and the audience was carried along in a torrent of sound! The Cathedral acoustics and art works are so suited to this music; the evening was another memorable experience inspired by Adelaide Baroque.
Bach and Handel 16.11.2024 in St Peter’s Cathedral.
Review written by Gabrielle Scherrer
Bach & Handel
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