Monday, July 4, 2016

Choir shows its strength

City Choir Dunedin. Photo credit Ian Thomson
Theresienmesse & Magnificat
Sunday 3 July 2016, Dunedin Town Hall

City Choir Dunedin, vocal soloists and members of the Dunedin Symphony Orchestra directed by David Burchell performed two choral works yesterday in the Dunedin Town Hall.

First up was C.P.E. Bach's The Magnificat in D Major H.772.

This son of the great J.S. Bach was influential in changing the established styles of music and although still very Baroque in character, the nine-section work shows signs of the lyricism to come, notably in the first soprano solo, Quia respexit, confidently delivered by Rebecca Ryan (Invercargill), standing in at very short notice for an indisposed Lois Johnston.

The choir presumably had warmed up but their opening Magnificat lacked the full-bodied impact required to launch this work assertively, although robust passages were evident later, particularly in the final passionate Gloria. Impressive secure melismatic definition from tenor James Adams in Quia fecit was a highlight, and Ryan's duo work with mezzo-soprano Claire Barton was well balanced in an ideal blend of voice tone and timbre. Bass soloist was Matthew Landreth.

Joseph Haydn composed six masses in the years 1796-1802, and Mass No 12 in B Flat "Theresienmesse'' had its first performance in 1799. Haydn was employed by the Esterhazy family for about 30 years, requiring him to regularly compose new works for the court musicians and visiting soloists.

This particular Mass lacks the usual horns and woodwinds, due apparently to a scarcity of those musicians at the time. Scoring then and yesterday was for two clarinets (an exciting new instrument for Haydn), two trumpets, timpani and strings plus chamber organ continuo.

Although clarity of diction in a large amateur choir will nearly always be wanting, yesterday's performers gave an authentic delivery, with good tempi and rhythmic energy, joyful contrasts and generally acceptable choral and instrumental contrapuntal passages. A powerful choral entry of the final Agnus Dei demonstrated the strength of the current City Choir Dunedin.

Review by Elizabeth Bouman, Otago Daily Times 4 July 2016.

Friday, January 1, 2016

2016 Concert Season

Ode To Joy

Saturday 9 April 7:30 pm
Dunedin Town Hall


TECWYN EVANS, conductor
CITY CHOIR DUNEDIN
DUNEDIN SYMPHONY ORCHESTRA
Soloists: Madeleine Pierard (soprano), Claire Barton (mezzo-soprano), Jonathan Lemalu (bass)

Tecwyn Evans: Fires of Light
A selection of operatic arias and duets
Beethoven: Symphony No. 9, The Choral



Theresienmesse Magnificat

Sunday 3 July 3:00 pm
Dunedin Town Hall


DAVID BURCHELL, conductor
CITY CHOIR DUNEDIN
DUNEDIN SYMPHONY ORCHESTRA
Soloists: Rebecca Ryan (soprano), Claire Barton (mezzo-soprano), James Adams (tenor), Matthew Landreth (bass)

FJ Haydn: Theresienmesse
CPE Bach: Magnificat



Gallipoli to the Somme

Saturday 1 October 7:30 pm
Dunedin Town Hall


Simon Over, conductor
CITY CHOIR DUNEDIN
SOUTHERN YOUTH CHOIR
DUNEDIN SYMPHONY ORCHESTRA
Soloists: Anna Leese (soprano), Martin Snell (bass)

Anthony Ritchie: Gallipoli to the Somme (world première)
Ravel: Le Tombeau de Couperin 
FS Kelly: Elegy for Strings: In Memoriam Rupert Brook 
Wagner: Prelude to Die Meistersinger’ 



Christmas Oratorio

Friday 16 December 7:30 pm
Dunedin Town Hall


DAVID BURCHELL, conductor
CITY CHOIR DUNEDIN
DUNEDIN SYMPHONY ORCHESTRA
SOLOISTS Lois Johnston (soprano), Claire Barton (mezzo-soprano), Iain Tetley (tenor) and Robert Tucker (bass)

JS Bach: Christmas Oratorio



Carols Live at the Otago Museum

Saturday 24 December 1:00 pm
Otago Museum


DAVID BURCHELL, conductor
CITY CHOIR DUNEDIN
City Choir Dunedin presented an hour-long programme of Christmas music at the Otago Museum.
Assistant conductor: Mark Anderson
Accompanists: Roland Storm and David Burchell
Soloist: Caroline Burchell

Thursday, December 10, 2015

Moving rendition of Handel masterpiece

Handel's Messiah

8 December 2015
Dunedin Town Hall

A sizeable audience at the Dunedin Town Hall attended the 2015 City Choir Dunedin performance of Handel's beloved Messiah, directed by David Burchell and accompanied by the Southern Sinfonia.

The work began gracefully in its overture, followed by the lilting "Comfort Ye" sung by tenor David Hamilton. The ensuing opening choruses were sung with bravado and confidence, although occasionally stuttering in rhythmic precision.

The subsequent arias, bold and evocative by bass Martin Snell, declamatory and impassioned by mezzo Wendy Dawn Thompson, heralded the incarnation texts admirably. Brooding majesty was conveyed in Snell's rendition of "For Behold", while the chorus "For Unto Us", sung thereafter, exhibited choral electricity and fervour. Soprano Emma Fraser's introduction to this performance brimmed with radiancy, preparing the audience for the denouement to an engaging Part One.

Part Two, focusing on Christ's self-examination, persecution and exaltation, began in restrained and sobering fashion; the mezzo aria "He Was Despised", while emotive, could have been sung with more powerful delivery.

The ensuing choruses, in particular "All We Like Sheep", were performed with panache, and with a particularly crisp sense of articulation noticeable in the soprano line.

The subsequent tenor solos, parted by the invigorating "He Trusted in God", were moments of real magnificence. Thereafter, the transformation from crucifixion to resurrection, conveyed by Emma Fraser, heralded bright and well-structured singing of the "Ascensiontide" and "Pentecost" choruses. Following Hamilton's ire-laden dashing of the potter's vessel, the famous "Hallelujah" evoked the fulfillment of God's triumph in its text.

Part Three began with Fraser's ornate, occasionally insecure, singing of "I Know That My Redeemer Liveth". The following "Since By Man Came Death" successfully rendered the great contrasts within its text, while Snell's telling of the great mystery and sounding of the trumpets supplied thoroughly invigorating drama.

The closing choruses of Messiah were performed with steady pomp, building in regal intensity, and concluding with a bright and resolute "Amen". Crisply accompanied by the Southern Sinfonia, Burchell's direction of the performance fashioned an emotive, elegant and well-crafted concert.

Reviewed for the Otago Daily Times by George Chittenden, 10 December 2015.