MENDELSSOHN Elijah

Pumeza Matshikiza Soprano
Catherine Hopper Mezzo soprano
Benjamin Segal Tenor
George von Bergen Baritone

ORCHESTRA DA CAMERA

NOTTINGHAM HARMONIC CHOIR
Conductor – Richard Laing

Of a fine young solo team, George von Bergen’s ringing Elijah had fire in his belly, while everyone could take courage from Pumeza Matshikiza’s soprano arias.
Catherine Hopper excelled in virtue (Angel) and villainy (Jezebel). Benjamin Segal’s lyrical tenor (Obadiah, Ahab) charmed the ear. In Part 1 of the story, Southwell Minster choirboy David Edmondson-Jones showed a nice sense of drama as look-out.

The Orchestra da Camera has never sounded better, underlining the score’s many pictorial touches with zest. In Elijah’s air It Is Enough, the cello solo was out of this world. The Albert Hall made an apt setting for Mendelssohn’s Biblical musical.

Brief notes
Elijah was composed in the spirit of Mendelssohn’s Baroque predecessors Bach and Handel, whose music he loved. In 1829, Mendelssohn had organized the first performance of Bach’s St. Matthew Passion since the composer’s death, and was instrumental in bringing this and other of Bach’s works to widespread popularity. In contrast, Handel’s oratorios never went out of fashion (in England at any rate). Mendelssohn prepared a scholarly edition of some of Handel’s oratorios for publicat
ion in London. Elijah is modeled on the oratorios of these two Baroque masters. However, the style clearly reflects, in its lyricism and use of orchestral and choral colour, Mendelssohn’s own genius as an early Romantic composer.
The work is scored for four vocal soloists, a full symphony orchestra and a large chorus singing usually in four, but occasionally eight or three (women only) parts. The part of Elijah is sung by the bass/baritone and is a major role.

Mendelssohn originally composed the work with a German text, but upon being commissioned by the Birmingham Festival to write an oratorio, he had the libretto translated into English, and the oratorio was premiered in the English version.

HANDEL Messiah

Laura Mitchell Soprano
Lina Markeby Mezzo soprano
Daniel Joy Tenor
Simon Kirkbride Bass

ORCHESTRA DA CAMERA

Organ – Philip White-Jones

NOTTINGHAM HARMONIC CHOIR
Conductor – Richard Laing

Laing is, clearly, already perfectly attuned to his singers. The Chorus produced a well-balanced, beautifully integrated sound, responsive to every nuance. The careful control of dynamics was particularly noticeable. Orchestra da Camera played with great sensitivity, their crisp, clear textures and expressive style complementing the singing. There were impressive solo performances from soprano Laura Mitchell, mezzo Lina Markeby, tenor Daniel Joy and, standing in at short notice, bass-baritone Adrian Clark.

Grahame Whitehead

FAMILY CAROL CONCERTS

NOTTINGHAM HARMONIC CHOIR
Organ – John Morehen

Conductor – Richard Laing

THORESBY COLLIERY BAND

Conductors – Melvin White and Peter Collins

And in the centre of the design, as is right and proper, are the children. The concert would lose its heart if ever the children were denied their chance to sing Away in a Manger. They make a wonderful sight standing on the stage, two of them chosen to conduct, whilst the festively-bedecked choir and the band in their Santa hats accompany them.

As always, the programme was a clever mix of the traditional and familiar with the new and surprising. The choir, directed by Richard Laing, was stylish whatever they sang: movingly restrained in In the Bleak Midwinter and exuberant in the jazzy arrangement of Ding Dong Merrily. We even had kazoos in I Saw Three Ships.

The Thoresby Colliery Band, conducted by Melvin White, was on effervescent form in numbers such as
The Shining Star and Riverdance. Their playing combined razor-sharp ensemble with a sense of fun and spontaneity.

William Ruff

PUCCINI Messa di Gloria

ROSSINI Stabat Mater

Sally Harrison Soprano
Caryl Hughes Mezzo soprano
James Edwards Tenor
Simon Thorpe Baritone

ORCHESTRA DA CAMERA

NOTTINGHAM HARMONIC CHOIR
Conductor – Richard Laing

Logically enough, Laing saved the crowning Gloria movement for the end of Puccini’s early Messa di Gloria, rather than having it in its traditional place before the Credo. Here, the animated rhythm seemed fully in keeping with the words.

Edwards voiced his solo thanksgiving, Thorpe suffering and blessings to fine effect. Together with the ever responsive chorus, an orchestral horn supported them in a poignant Agnus Dei.

Peter Palmer

DURUFLE Motets:
Ubi caritas, Tota pulchra es, Tu es Petrus, Tantum Ergo
BARBER Agnus Dei
DURUFLE ‘Prélude’ from Suite, op.5
ELGAR Lux Aeterna
BRUCKNER Motets:
Tota Pulchra es Maria, Os Justi, Ave Maria
DURUFLE Requiem

NOTTINGHAM HARMONIC CHOIR
Conductor – Richard Laing
Organ – Philip White-Jones

The choir has become a very responsive instrument in the hands of new conductor Richard Laing. In the concert’s largely unaccompanied first half their alertness to direction was apparent in the way that they sang with their eyes as well as their mouths. Tuning was secure, phrasing subtle and control of dynamics often thrilling, producing not only sonic grandeur but also the gentlest pianissimos.

The programme was a masterpiece of planning. Motets by Duruflé and Bruckner plus Elgar’s Lux Aeterna (set to his Nimrod music) and Barber’s Agnus Dei (set to his famous Adagio) made up Part 1 and Duruflé’s Requiem filled Part
2. The effect really was as serene as the choir’s publicity claimed and in each jewel-like offering the Minster’s architecture seemed an integral part of the musical experience.

The Requiem’s two soloists were drawn from the ranks of the choir. Soprano Sarah May Morris brought touching purity and control to her performance of the Pie Jesu and Geoff Harbach was the eloquent baritone. The organ was played with distinction (notably in the Duruflé Prelude) by Philip White-Jones.

William Ruff

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This promises to be a beautiful concert in the peaceful surroundings of Southwell Minster, where the acoustics will enhance this style of music.

Barber’s Agnus Dei is his choral version of the Adagio for strings, which is simply spine tingling.
Similarly Elgar’s Lux Aeterna is a choral arrangement of Nimrod from the Enigma Variations.
Duruflé’s Requiem is one of the most peaceful and lyrical settings in existence.

In early summer with the evening sun glowing through the stained glass windows onto the old stone pillars, what could be a finer setting for such wonderful music. Come and escape the hassles of life and enjoy a serene evening with us!