Recent critical acclaim:

 

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

Where: St Peter’s Cathedral

Works by: Haydn, Bach, Gabrieli and Katie Johnson

Soloists: Sopranos, Amber Evemy and Ondine Godtschalk; Mezz-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 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.