Recent critical acclaim:
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 balleto
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.
Who: Gallagher Group Hamilton
Civic Choir
What: War and Peace
When: Sunday
13th April, 2008
Where: Founders
Theatre
Musical Director: Rachael Griffiths-Hughes and Guest Conductor: Rupert D’Cruze
Soloists - Elaine Wogan: Soprano, Kate Spence: Contralto, Iain Tetley: Tenor,
Hadleigh Adams: Baritone, Jonathan Eyers: Treble, Yotam Levy: Cello,
Asad Abdullahi: Call to
Prayers
Reviewed by Andrew
Buchanan-Smart
The Choir dressed
in black with an appropriate red poppy for these Masses and the ANZAC season,
produced a deeply moving performance for this significant musical event.
Haydn’s Mass in
Time of War conducted by Rachael Griffiths-Hughes displayed all the hallmarks of a quality Haydn performance. Attention
to detail started with the choice of soloists where the balance was a
nigh-on-perfect match, in which their individual vocal colours blended to add
extra riches. Hadleigh Adams provided an especially
rich and dark patina.
Karl Jenkins’ The
Armed Man: A Mass for Peace conducted by Rupert D’Cruze
was a musical experience that reflected on war and peace in a multi-cultural,
global society. The thirteen sections of the Mass used melodies and film to
convey the senselessness of war and suffering. This was a very powerful
composition in both its imagery and execution, and the sense of awe left this
writer emotionally drained. The choir, accompanied by the Opus Chamber
Orchestra and members of the Waikato Youth Orchestra, should be exceptionally
pleased with the quality and totality of the performance. The near-full theatre
and standing ovation were testament to its emotional impact.
NB. The reviewer is a life member of the
Opus organisation
Who: Hamilton Civic Choir
What: All That Jazz with Malcolm McNeill
When: Saturday
2nd September, 2007
Where: Academy of Performing Arts
Reviewed by
Andrew Buchanan-Smart
What a
departure from the usual choral tradition; this time showing a different aspect
of their personality and what a delight it was. Certain hallmarks remained;
there was no sacrifice of quality, just an increase in diversity. Malcolm
McNeill, with his silken voice and humorous patter engaged from the outset as
he explained about the “golden age” of American song writing and sweet
nostalgia proceeded. As an interpreter of these classic songs he was expressive
with engaging interpretations where one could hear every word. Of note
were; Ain’t Misbehavin, I’ve Got you Under my Skin,
Mister Bojangles and an enjoyable Gershwin medley
arranged by Barry Brinson, who was the backbone of the ensemble.
The Choir
sang lovely a cappella versions of Somewhere over the
Rainbow and A Nightingale Sang in Berkley Square. In Porter’s Let’s
Do it, they noticeably became more animated.
The slick
band was in fine form; their Meditation by Jobin
where they all featured was improvised. Bassist, Haines appeared in his element
with some remarkable solo backing and King displayed nuanced playing on drums.
Individual solos from Mason and Towers added a piquancy that satisfied.
Rachael Griffiths-Hughes and the Choir should be really pleased with all
aspects of this performance.
Who: Hamilton Civic Choir Hospice Waikato Benefit Concert
When: Saturday
23rd June, 2007
Where: St Peter’s
Cathedral
Works by: Kodaly,
Mendelssohn, Rheinberger, Bellini and Puccini
Conductor:
Rachael Griffiths-Hughes; Soloist: Soprano June Dams and Accompanist Francis
Cowan
Reviewed by
Andrew Buchanan-Smart
Mendelssohn’s
Holy, holy, holy and Lobgesang Song of Praise No.4
opened the concert with the choir standing in the aisles singing. Being
surrounded by the choir and therefore the sound in this manner one was
immediately immersed in the energy of the musical vibrations, thereby enhancing
ones experience not only of the music, but of the vitality involved in
performance.
The Rheinberger Mass in Eb for Double
Choir is a strikingly beautiful work, colourful and rich-textured which
utilised both homophonic and polyphonic styles that were placed firmly in the
romantic realm. The choir’s strengths
were particularly apparent in maintaining a focused blend and a dynamic range
that appeared effortless and with expressive colour that produced some sublime
moments.
The Choir’s
Associate Artist, soprano June Dams provided three operatic arias; Cilea’s lo son l’umile ancella, Bellini’s Ah!`noncredea mirati and Puccini’s
Quando M’en Vo. Although these were
beautifully sung by a remarkable musical talent, with Francis Cowan
accompanying sensitively, from a programming perspective they changed the focus
from a choral event to an operatic one, with a break in continuity.
The choir
captured the extremes of Kodaly’s Missa
Brevis. From its starkness to its exuberance, from despair to exhilaration the
singing was beautifully controlled and shaped by graded crescendos and
diminuendos and subtle changes of vocal colour. Both the choir and Rachael
Griffiths-Hughes should be very pleased.
Who: Hamilton Civic Choir and Opus Chamber Orchestra
What: Bach St. John Passion
When: Saturday 24th March, 2007
Where: Founders Theatre
Conductor Peter
Walls
Soloists: Nicola Edgecombe – Soprano, Kate
Spence – Mezzo-Soprano, Paul McMahon and John Murray – Tenors, David
Griffiths – Baritone, Malcolm Ede – Bass with
Continuo and Choir Director – Rachael Griffiths-Hughes
Reviewed by Andrew Buchanan-Smart
A significant milestone was reached for Hamilton with the Civic Choir and Opus Orchestra staging
a performance at a professional level. Bach's St. John
Passion is one of music's
great religious works, with dramatic intensity juxtaposed with some of Bach's tenderest writing, and it was with great skill that conductor
Peter Walls united these contrasts into a
cohesive and profoundly moving performance.
In the role of the Evangelist, whose
recitatives of the story provide critical continuity, Paul
McMahon consistently used his sweet-toned voice with
clarity and feeling. Malcolm Ede as Jesus projected
his dark lustrous voice with conviction. Nicola Edgecombe was
stylishly lyrical whilst Kate Spence produced
a velvety quality that hung off every note. John Murray’s delicacy in the
phrasing appeared to float and David
Griffiths, as Pilate, was focussed with menacing
richness. This combination provided of the
impassioned and the dramatic.
The choral passages frame this masterpiece and
the lyricism of the music and the singing was undeniably matched. Both the
chorales and the choruses demonstrated blend and balance, with particularly
refined ensemble singing.
The greatness of the Passion is in its story
and the telling of it using imagery, poetry and the sophisticated elaboration
in the music; both the occasion and performance were an unqualified success for
the audience in a near full Founders Theatre.
NB. The reviewer is a life member of
the Opus organisation
Who: Hamilton Civic Choir:
What: “Just Voice”
When: Saturday 1st
July, 2006
Where: St Peter’s Cathedral
Works by: Martin, Purcell, Handel, Parry and
Stanford
Musical Director and Harpsichord - Rachael
Griffiths-Hughes,
Soprano – Fiona Ferens,
Cello – Martin Griffiths
Reviewed by Andrew Buchanan-Smart
A choir’s “a
cappella” singing is often one of the defining factors that differentiate and
separate the abilities and, therefore, capacity of different choirs. This
concert certainly tested the choir’s ability with the inclusion of Martin’s
Mass for Double Choir, now perhaps his most frequently performed work, usually
described as "austere". It
is, but with emotional, musical and even sensual layers the word doesn't
describe.
The austerity
was obvious in the homophonic, medieval flavour of the Kyrie
and is often heard throughout the Mass. Martin's exploration of liturgical
music from the medieval to Stravinsky, became apparent in the Benedictus and the Laudamus te. The sensual can be heard in the ecstatic Hosanna and in
the sheer beauty of the writing for the double choir. Griffiths-Hughes
triumphed because the chorus had a mature sound and, although light in parts,
the pitch, ensemble and voices blended beautifully and reflected the intensity
that hovers just beneath the music's cool surface.
Fiona Ferens gave a beautiful performance of arias by Purcell and
Handel in which the famous ‘Let the Bright Seraphim’ glistened like a jewel in
an already sparkling crown. The Parry and Stanford items rounded off a very
fine performance.
Who: Hamilton Civic Choir: 60th Anniversary Gala Concert
What: Mozart
Requiem and Flute Concerto in G
When: Saturday
1st April, 2006
Where: Founders
Theatre
Conductor and
Flautist – Uwe Grodd
Soloists: Pepe Becker - soprano, Helen Medlyn
- mezzo-soprano, David Hamilton – tenor, and Jamie Frater – baritone, with the Opus Chamber Orchestra
Choir Director
– Rachael Griffiths-Hughes
Reviewed by
Andrew Buchanan-Smart
A combination of
the impassioned and the dramatic made both the occasion and performance an
unqualified success!
The appetiser
of Flute Concerto, with its crystal clarity, cleansed the palette for the
weightier and more profound Requiem.
From the
opening Introit through to the Lacrymosa to
the final Lux Aeterna,
the choir once again were on top form with singing that was sharply etched
throughout, its balance excellent, its singing energetic, dedicated and
dramatic, nowhere more so than in the Dies irae,
Rex tremende and final Communion.
Particularly
impressive were the soloists, Pepe Becker, Helen Medlyn, David Hamilton, and Jamie Frater
who produced clarity both in the words and in the music. They came across with
unusual definition, especially in their blend and balance with particularly
refined ensemble singing.
Uwe Grodd’s
achievement was on obtaining such a powerful and distinctive interpretation
both from the choir and the excellent orchestra, with the dark tone colours in
keeping with the solemnity of this work being well maintained throughout.
Both the balance between orchestra and chorus and the orchestra’s internal
balance were proved finely judged. A stunning performance that appeared much
appreciated by a full Founders Theatre.
