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Recent critical
acclaim:
Matariki Concert – Hamilton Civic Choir, St Paul’s
Collegiate Choir, Raakaumangamanga
When:
Saturday 25th June 2011
Where:
St Paul’s Collegiate Chapel, Hamilton
Conductor:
Rachael Griffiths-Hughes; Pianist/Organist: Francis Cowan
Reviewed
by R Max Stewart
The
spirit of Matariki was certainly well ignited through the joy and polished
singing of Raakaumangamanga from Huntly, opening this concert with three
appropriate waiata relating to this season in the Maori calendar. It was a
delight to hear, was well presented, and concluded with a spirited haka.
David
Hamilton’s ability as a highly skilled composer of New Zealand choral
music, was exemplified next as the Hamilton Civic Choir presented his
composition – ‘Matariki’. From an extremely hushed opening, the choir
demonstrated its ability to maintain a controlled, fluent melodic line and
a confident well balanced sound.
As
a contrast Holst’s ‘Hymn to the unknown God’ inserted an Eastern flavour to
the programme and demonstrated excellent rapport between the piano and
choir.
Combining
with the Hamilton Civic Choir, St Paul’s Collegiate Choir then performed
the first of two New Zealand premier performances singing ‘Psalm 148’ by
the Waikato composer Phillippa Ulenberg. While being an excellent
composition in the more traditional choral form, a slight delay between
organ and choir was apparent from time to time, due to the distance of the
organ from the choir.
A
slightly diminished St Paul’s Collegiate Choir then performed ’The heavens
are telling’ from ‘Creation’ by Haydn. The performance was extremely tidy
and musical with the male soloist from within the choir excelling in
presentation and diction.
Three
shorter pieces followed – ‘I thank you God’ by Whitacre, was sung by a
small group and did not seem achieve the heights of the other pieces as
tonality and pitching appeared to waver at times. ‘Waikato Song’ by Edwin
Carr exhibited excellent dynamic contrasts as a portrait of the river was
unveiled in all its grandeur.
David
Hamilton’s second piece provided one of the many highlights of the evening.
‘Me he korokoro tui’ (The call of the tui) allowed the choir to present a
fully rounded sound, accompanied by a delightful organ score. Here, not
only could the choir demonstrate their skill and love of well written
music, but provided the audience with an exciting soundscape of New Zealand
native birds – complete with an audio sound track of appropriate bird
calls.
The
second half contained eight songs performed by the Civic Choir. These were
all enjoyable and were sung with clear harmonic lines and effective dynamic
effect.
Two
of these pieces from the ladies of the choir created an interesting
contrast to the full choir sound, though there were some moments where
pitching in the higher register was suspect.
‘Yver,
vous n’estes qu’un villian’ by Debussy gave a refreshing change of tempo,
which added to its unique attraction.
The
final item of the night was a delightful performance of the second New
Zealand premier, this time singing Janet Jennings’ composition ‘Matariki’.
An effectively haunting opening and the intricate linking of English and
Maori through the music gave this piece a special character which held the
audience’s attention, while the accompaniment added a superb finishing
touch.
Hamilton Civic Choir is a fine group of
singers who lift interesting and challenging music to a high level of
accomplishment. Tonight was certainly no exception and conductor Rachael
Griffith-Hughes and accompanist Francis Cowan are to be congratulated upon
their efforts.
Who: Hamilton Civic Choir: Music
for Easter – Stabat Mater
When: Saturday 27th March
Where: St Peter’s Cathedral
Works by: Palestrina and Rossini
Soloists: Soprano: Glenese Blake,
Mezzo-soprano: Mary Newman-Pound, Tenor: Pene Pati and
Baritone: Ian Campbell
Conductor: Rachael Griffiths-Hughes; Organist:
Anne Clever-Holm, Pianist: Francis Cowan
Reviewed by Andrew Buchanan-Smart
The juxtaposition of the
musical settings of this Easter text illuminated the suffering of Mary
during Christ’s crucifixion. St Peter’s Cathedral was the ideal venue and
acoustic for a performance of Palestrina’s Stabat mater, where
its rich textures allowed the choir to shine with acapella polyphonic
singing style. The flowing lines were finely balanced, beautifully
articulated, both full of pathos and at times imbued with rich layering of
harmonies which provided an aural sensual feast.
Rossini’s Stabat mater was
more dramatic and a mixture of polyphony and homophony. The choir captured
the operatic element very well, especially in their dynamic details. The
soloists were especially well matched; Pene Pati in the
famous Cujus animam showed
both the beauty of his voice and power at his disposal. In the duet Quis esthomo, Glenese Blake and Mary
Newman-Pound blended exquisitely. Ian Campbell in the Pro peccatis, provided the darker
lustrous hues. In the Sancta Mater the quartet’s dramatic personae was highlighted.Newman-Pound’s Fac ut portem had warmth and Glenese Blake’s Inflamatus had the quality, and
a beautiful bloom, to project above the choir. The choir, in all the major
choruses, Quando corpus morietur and In sempiterna saecula,
Amen were homogenous.
Rachael Griffiths-Hughes highlighted the styles
and riches within each work.
What: Handel’s Messiah
Who: Hamilton Civic Choir and Opus
Orchestra
When: Saturday 12th December
Where: Founders Theatre
Soloists: Anna Leese - soprano, Kate
Spence – mezzo-soprano, Patrick Power – tenor, Kieran Rayner –
baritone
Conductor – Peter Walls
Reviewed by Andrew Buchanan-Smart
From the opening orchestral Sinfonia, for
a near full Founders Theatre, one could hear that the performance would be
special; it was. This Messiah, without cuts, captured the dramatic
narrative with energy as well as the reflective moments. The
choir were very clear with sonorities of lightness for the polyphonic, and
robust fervour for the homophonic, choruses. They were inspired,
from the opening “And the glory of the Lord”, to the exuberant “Hallelujah”
chorus and the majesty of the final “Worthy is the Lamb”.
Opus matched the moods of the texts with rich
and warm timbres and were an excellent combination with the
choir. The recitative and continuo were strong throughout. The
“The trumpet shall sound” was beautifully played in a florid and lyrical
style which complimented Kieran Rayner’s lighter baritone
hues which were also shown well in “For behold, darkness shall cover the
earth”.
Anna Leese, with a beautifully clear
voice, seemed to change between the oratorio and operatic styles but her “I
know that my Redeemer liveth” was divine.
Kate Spence’s rich dark velvety palette was
exquisite throughout; nowhere more so than in “He was despised and
rejected”.
Patrick Power provided a clear and strong
opening with “Comfort ye” and later, in “Thou shalt break them,” was lyrical
with darker hues.
This would be one of the finest Messiah
performances I’ve had the pleasure to attend; magnificent; congratulations
to all involved.
Who: Gallagher
Group Hamilton Civic Choir
What: Shakespeare As You
Like It!!
When:
Saturday 5th September
Where: WEL Academy of
Performing Arts
Who:
Malcolm McNeill, vocalist with Barry Brinson, pianist and arranger; James
Sherlock, guitarist; Paul Dyne, bassist, Wayne Trow, Flautist, Grant
Mason, Flugelhorn and actors, Alec Forbes and Liz Buick
Musical
Director: Rachael Griffiths-Hughes
Reviewed
by Andrew Buchanan-Smart
An
enjoyable departure from the staple diet of offerings was well
received. Forbes’ opening Caliban captured the lyrical and
undulating rhythmical patterns that became a feature of the evening. Malcolm
McNeill, in the spirit of the troubadour drew one into his silky vocalise,
with Oh Mistress Mine, Come Away Death, The Winter
of my Discontent and Shall I compare thee to a Summer’s
day?
The
Choir’s selection of songs and sonnets included many of the more well
known; It was a lover and his lass, set by both Shearing and Rutter. Who
is Sylvia?, was an especially fine rendition. There was
the odd occasion when the choir in a cappella mode had
pitch discrepancies, but generally the colours and balance worked well.
The
band of Brinson, Sherlock and Dyne were in fine form; both in the ensemble
as well as the solo breaks, especially so was Sherlock, with some very
stylish solo backing.
An
individual solo from Mason and the settings of Arne arranged Brinson
allowed Trow to feature prominently as he did in Under
the Greenwood Tree, and Where the Bee sucks. Rachael
Griffiths-Hughes and the Choir should be really pleased with their “concord
of sweet sounds”.
Who – Gallagher
Group Hamilton Civic Choir
What
– St Paul Oratorio – Felix Mendelssohn
When – Saturday 13th June 2009
Where – Cathedral Church of St
Peters, Hamilton
Musical Director – Rachael Griffiths-Hughes
Soloists – Julia Booth, Derek Hill, Charles Sorensson, David Griffiths
Organist – John Wells
Reviewer – R. Max Stewart
To a large and very receptive audience,
Hamilton Civic Choir gave a most enjoyable presentation of this little
known oratorio on Saturday evening.
Under the guidance of Musical Director Rachael
Griffiths-Hughes the 64 voice choir, four soloists and organist warmed to
this melodic and expressive work with obvious enjoyment and improving
clarity of diction as the evening progressed.
Each chorus was presented with attention to
detail and excellent use of the full range of excitement and drama, showing
the fine tonal quality which is now a hallmark of this well balanced choir.
It was in the singing of the chorales, however,
that the quality of the choir shone, drawing fully on dynamics and
harmonies which are so much a part of Mendelssohn’s music.
Soprano Julia Booth delighted with a clear
melodic line and fine sense of phrasing. “I will sing of thy great mercies”
was particularly impressive.
Derek Hill was outstanding in “Be thou faithful
unto death”, while Charles Sorensson, a choir member, sang with
clarity, combining admirably with David Griffiths in two
well-balanced duets.
David Griffiths, as St Paul, once
again provided the richness of tone and expression required for this major
part. His experience and skill at interpreting a role of this type was
secure and consummately presented.
The whole performance was sustained with great
sensitivity by organist John Wells. The accompaniment was both incisive and
supportive throughout, maintaining an excellent balance between choir and
soloists. His artistry was a feature of the evening.
Congratulations to all involved in this
excellent concert.
Who: Gallagher Group Hamilton Civic
Choir
What: Songs of Praise
When: Saturday 28th March 2009
Where: St Peter’s Cathedral
Works by: Haydn, Bach, Gabrieli and
Katie Johnson
Soloists: Sopranos, Amber Evemy and Ondine Godtschalk; Mezzo-soprano
June Dams; Tenor, Michael Petrus and Baritone Jarvis Dams
Conductor: Rachael Griffiths-Hughes; Organist:
Francis Cowan
Reviewed by Andrew Buchanan-Smart
What a delight to hear some of Hamilton’s
finest young voices and composer Katie Johnson being featured by the choir;
one could argue that it was a concert in ‘Praise of Youth’, mostly from the
University of Waikato.
Bach’s Baroque Magnificat 1723
with orchestral accompaniment was finely honed. The soloists,
Amber Evemy, Ondine Godtschalk, June Dams, Michael Petrus and
Jarvis Dams all demonstrated a sense of style, articulation and colour but
there was a little concern over Evemy’s occasional intonation
lapses. Vocal projection of the soloists above the ensemble to
the back of the auditorium is required; hopefully this will come with
experience.
Gabrielli’s late-Renaissance Jubilate Deo omnis terra,
dated 1597 is a sample of some of the richest polyphonic writing. The
flowing counterpoint’s woven textures were beautifully realised in the
Cathedral’s acoustic.
Hamiltonian Katie Johnson’s world premiere of Gloria, showed
that the tradition of composing a cappella religious
choral works is alive and well. The combination of traditional
and modern vocal written styles combined well to arrive at a very florid
Amen.
Haydn’s Te Deum circa
1799-1800, accompanied by Francis Cowan was dramatic and dynamic; lovely
choral singing. Rachael Griffiths-Hughes with the choir revealed
each works own riches and musical style; the integration of which into one
concert provided a clear lineage and continuum for Songs of Praise.
Who: Gallagher
Group Hamilton Civic Choir
What: Music For kings
When: Saturday 6th September
Where: WEL Academy of Performing
Arts
Conductor: Rachael Griffiths-Hughes, Soprano
Soloist: Evelyne Waters, Organists: Leonard Cave and
Francis Cowan
Reviewed by Andrew Buchanan-Smart
“Music for Kings” was a rich gallimaufry of
music both composed for royal occasions and used by royalty, which
traversed many different vocal styles and centuries. This was an
essentially English programme, whilst acknowledging Handel’s German origins
and the works by Couperin.
The cyclical nature of the evening with the
weight of Handel for the opening organ processionals of Water Music and
Royal Fireworks followed by The King Shall Rejoice and the penultimate Zadok the
Priest, heard the choir well within their comfort zone. The
choir in Purcell’s I was glad and Music for the Funeral of Queen Mary
produced some beautifully blended textures in the contrapuntal style, with
an added degree of solemnity in the latter.
Soloist Evelyne Waters, with a beautiful
bloom to her voice delighted with Bax’s Shieling song and
Handel’s Let the bright seraphim and V’adoro, pupille, from
Julius Caesar.
Ireland’s These Hills and Bliss’s Aubade for
Coronation morning heard the choir in less antiphonal mode and with a more secure
timbre to their vocal lines. Tavener’s Song for Athene, with
a bass drone, was most effective and worked well within the acoustic.
Spem in alium by Tallis,
possibly the jewel at the centre of this regal offering, is undoubtedly the
most complex and challenging work for almost any choir, where the 40
individual parts require perfect delineation and balance. A fine effort,
worthy of performance but the Academy acoustic and setting appeared
incongruous, whilst the cathedral acoustic may have ameliorated some
inconsistencies. Rachael Griffiths-Hughes, organists and the Choir should
be really pleased with this performance.
Who: Gallagher
Group Hamilton Civic Choir
What: Pilgrimage
to Santiago
When:
Saturday 28th June
Where:
St Peter’s Cathedral
Conductor:
Rachael Griffiths-Hughes, Recorder Ensemble: Jessica Shaw
Reviewed
by Andrew Buchanan-Smart
Wow!
An aural and visual feast had a very enthusiastic response from a packed
cathedral, which was just reward for a performance full of beautiful sounds
and unexpected riches.
This
concert comprised of four elements; pictorial images of the pilgrims’ route
along the Camino de Santiago, an explanatory narrative and readings from
Codex Calixtinus, read by Sam Edwards, a recorder quintet lead by
Jessica Shaw gave the secular tones whilst the sacred was provided by the
Choir and Rachael Griffiths-Hughes who opened as solo cantor.
The
choir and small ensembles were a cappella, this allowed for a non-tempered
openness that was beautifully refreshing. Four soprano cantors placed in
the corners of the cathedral sang discant organum that resonated
from the vault to loft with exquisite clarity. All small vocal ensembles
acquitted themselves well; of note was a trio which produced a sumptuous
blend and balance of voices. The choir throughout produced a sound of
refined purity with open textures which enabled the rich voicings and
harmonies to be clearly articulated and befitted some of the music of
Victoria, Morales, Lobo and others of the period. The recorder ensemble
with equal precision and balance of timbres provided interludes of Medieval dances,
Renaissance ballet and an Elizabethan collection which enhanced the
Camino.
Each
element brought its own richness, references and allusions, the integration
of which allowed the audience their own personal pilgrimage.
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