Massive musical undertaking delights

St Matthew Passion - An Epic Musical Creation
Sunday 31 March, Dunedin Town Hall

St Matthew Passion, by JS Bach, is a deeply moving oratorio requiring dramatic performances from all. Yesterday's performance in Dunedin Town Hall, conducted by David Burchell, showcased the choral majesty of Bach's music in a marathon of energy and passion.

This is not an easy work, demanding almost three hours' interpretation of emotional musical intensity, expressed in German, a foreign language to most of the performers.

The text outlines Christ's final days from various perspectives, with a narrator (Evangelist - Iain Tetley), Jesus (Scott Bezett) and other principal soloists - Lois Johnston (soprano), Claire Barton (contralto), Andrew Grenon (tenor) and Malcolm Leitch (bass) taking on different roles and characters to advance the storyline between full choral anthems from combined choirs - City Choir Dunedin, Christchurch City Choir, and Forte (Fairfield School) who added an extra timbre to harmonic textures of the big anthems in Part 1.

Dunedin Symphony Orchestra provided a 30-piece baroque orchestra, including three keyboard continuo performers, two oboes d'amore adding impressive gilding to some of the vocal solos, and a viola da gamba.

The overall performance was a credit to all participating. However, with the 160-voice choir, musical articulation and clarity of German was sometimes needy, but their balance, intonation, quality of tone and expression was excellent.

Tetley possesses a crisp clear tenor, with counter-tenor colouring, which is ideal for ``story-telling''.

Bezett, at age 21, was outstanding in his interpretation of the role of Jesus. His voice carried well, reflecting sound technique and hours of preparation.

Johnston and Barton often sing together, and the fine balance for their duet was a highlight.

Enthusiastic prolonged applause and endless comments of approval rewarded the performance.

Review in the ODT, 1 April 2019, by Elizabeth Bouman

Letters to the Editor of the Otago Daily Times

Bravo, maestros
A big thank-you to City Choir Dunedin, the six soloists and the Dunedin Symphony Orchestra, and of course the conductor David Burchell for the magnificent performance of the St Matthew Passion.
The dramatic music stirred the emotions, and I had tears in my eyes when the evangelist raises his voice when he imitates the crowing of the rooster.

But this is not an opera but church music which can inspire the listener to deep contemplation. So, please audience, do not applaud at the end of the performance. Bouquets of flowers to the conductor and soloists seem out of place, as this is not a concert.

Heinke Sommer-Matheson, Maori Hill, 3 April 2019

Marvellous music
I write to express deep appreciation of the performance of Bach's St Matthew Passion at Dunedin Town Hall on Sunday, 31 March. Grateful thanks are due to the combined choirs, the orchestra and soloists for heartfelt and disciplined music making.

That five cathedral organists were present says much for the respect we all give to David Burchell, conductor, Tessa Petersen, concertmaster, and all involved. The outstanding playing of Polly Sussex, viola da gamba, carried throughout the magnificent town hall and added authenticity.

Bach gives us much to contemplate in this Passiontide season, as for example when his music adorns the text: "As long as life lasts, we have a thousand thanks for Christ's sufferings, for having valued so highly the salvation of our souls." And out of suffering will soon come the joy and miracle of Easter Day!

Dr Raymond White, Invercargill, 8 April 2019

Jazz Café lets locals show and flex talent

Jazz Café - Big choir! Big band! Big night out!
Saturday 6 October 2018, Dunedin Town Hall

Tables, candles, smoky downlights, a dance floor and streamers transformed the Dunedin Town Hall for City Choir Dunedin’s “Jazz Café”.

Close on the heels of the Dunedin Arts Festival, it represented a chance for something not too serious nor thought-provoking. 

It also gave a glorious opportunity for local jazz groups to flex their talents.

Most notable of these is Sophie Morris. Her relaxed professionalism and vocal control delivered some stunning numbers which wowed the audience.

Eva Cassidy’s Song bird, All that Jazz and Bonnie Raitt’s I can’t Make you Love Me gave a marvelous avenues for Morris’ dramatic drive and well rounded tone.

David Burchell’s direction of Alexander L’Estrange’s Song Cycle – vive la Vélorution! with Dunedin’s jazz quintet called succinctly enough Quintet, was innovative and fun. 

The City Choir Dunedin cyclists’ abilities to weave their way past music stands is highly commended and the choristers’ pantomimes were quite funny. L’Estrange’s piece also works the pun. The best of these songs was the first repeated at the close. The choir performed exceptionally well and clearly enjoyed keeping the beat throughout its cleverly revolving rhythmic patterns. 

The soaring Free wheelin’ and jaunty Cycle babble stood out as new and innovative while the other songs meandered off into historic kitsch.

Dunedin City Jazz Orchestra directed by Calder Prescott performed some jazz standards. Their rendition of Weather Report’s Birdland was riveting.

The innovative trio, Café Operana, comprising vocalist Lois Johnston, wonderfully talented harpist Helen Webby and Sophia Bidwell on accordion with guest Sean Manning with the Irish drum, the bodhran, were much appreciated by the audience.

Dunedin Youth Jazz Orchestra, the Dunedin Youth Choir and dancers Swing Riot established and maintained the mood during a long evening.

Though the audience numbers dwindled [after three hours] it left them In the Mood for another such enjoyable venture.

Reviewed by Marian Poole, Otago Daily Times, 8 October 2018.

Gallipoli to the Somme in the UK

Gallipoli to the Somme, London, 13 June 2018  Photo: Ian Thomson

By all accounts the two performances of Anthony Ritchie’s Gallipoli to the Somme at the Sheldonian Theatre, Oxford on 2 June and at the Queen Elizabeth Hall in London on 13 June 2018 we brilliant, to say the least. 

Simon Over conductor 

Anna Leese soprano 

Jon Stainsby baritone 

City Choir Dunedin (New Zealand) 

The Parliament Choir 

Southbank Sinfonia 

Concertmaster and solo violin: Tessa Petersen (Dunedin Symphony Orchestra)

It was an honour and a privilege for 30 members of City Choir Dunedin to travel to the opposite end of the world to participate in these performances and enjoy the generous and warm hospitality of the Parliament Choir singers and the Southbank Sinfonia players.

Reviews:

‘The concert was absolutely magnificent and Gallipoli to the Somme a most moving and inventive combination of words and music. Who knew that extracts from war diaries could be such an effective foil against the very varied patchwork of poetry and lyrics. Absolutely incredible and no wonder it got a standing ovation.’ 

Jenny Lewis, poet and author of ‘Taking Mesopotamia’

‘Congratulations to all who conceived and then realised such an aurally, textually and metaphorically even monumentally perfect event with which to end the Series formally (although there remains the poetry evening on Tuesday). It was a superb programme. The Lark Ascending began with unprecedented saxophone accompaniment which didn’t deter the soloist and orchestra one bit, and then ended with real birdsong as the final violin strains faded away – a moment of pure enchantment, so English, so right for the occasion. To my shame, I had never heard of Augusta Holmès, but I loved her orchestral piece, rich and sonorous, uplifting and operatic. As for the Ravel, rarely can a performance have had such poignancy and power, despite the light-hearted nature of some of the movements, generating contrasting emotions which seem to have regularly surfaced during the year. All three pieces were hugely enhanced by Kate Kennedy’s illuminating programme notes. 

However, Anthony Ritchie’s personal, colossal, majestic, ironic, heartbreaking piece was what took all our breath away. The programmatic selection of texts – many of which were little-known and may now become deservedly less so – was itself given new depth through that compelling music, somehow conveying a glimpse of the unfathomable. The symbolism of that violin suddenly became clear to all, too. The bitter juxtaposition of jolliness and catastrophe, of dreams and shattering reality: all was encompassed in the infinite range of vocal, choral and orchestral expression. On a personal note, Vive la Compagnie! brought back to mind a performance of the stirring original for male voices that I had conducted early in my career, without, of course, knowing anything of its being sung just before the Battle of the Somme. Last night’s version was overwhelming, the utterly unexpected disintegration of both words and music at the end evocative of the end of Mahler’s Ninth Symphony or Das Lied von der Erde, in both of which words and music, finally, give way to silence, because that’s all we are left with. And to close with that intimate setting of Ataturk’s embracing, almost comforting sentiments was nothing short of 

genius. 

My apologies for rambling. I will not be the only one to have been profoundly affected by last night, and not least by the UK-NZ cooperation with all its symbolism.’ 

John Dunstan, musician and educator

Review: Grief to Joy, Music For Easter

City Choir Dunedin, 7 April 2018. (Photo: Carlos Silva)

Grief to Joy, Music for Easter
Saturday 7 April 2018, Knox Church

City Choir Dunedin opened their 2018 season on Saturday evening with a varied and engaging programme of music for Easter. Led confidently by music Director David Burchell and accompanied on the organ by Douglas Mews the choir began with Verdi’s setting of Stabat Mater Dolorosa. Beginning perhaps a tad too enthusiastically the choir soon found their voice settling nicely into Verdi’s vivid depictions of the Crucifixion. While in some sections the choir seemed unsure of the specifics of Verdi’s more complex harmonies, in others, particularly some of the more lamentful sections, they achieved a pleasing warmth of tone.

Following this the audience was introduced to the guest choir for the evening. The Main Street Singers hail from Los Altos High School in the San Francisco Bay area. The Choir have been doing annual international tours for many years and this year’s brought them to New Zealand and Tonga. Their first bracket contained three works by American composers juxtaposed with a 16th century Madrigal and an African American Spiritual. While their performance of John Bennet’s Weep, O Mine Eyes at times lacked the clarity and confidence demanded by complex renaissance polyphony, their other works were executed sensitively and effectively with the moving Felices Ter by Randall Thompson a particular highlight.

Following this the City Choir returned to sing Lo, the Full, Final Sacrifice by Gerald Finzi. For this the choir’s forces were augmented by soloists Benjamin Madden (Tenor) and Malcolm Leitch (Bass) who sang not just the solo roles but in the choir throughout. This was a masterstroke and greatly secured the smaller Tenor and Bass sections of the choir that in turn led to a more confident and well blended sound overall. Finzi’s setting of the text by Richard Crashaw is at times both powerful and sensitive and the choir proved adept at portraying both with the support of Douglas Mews from the Organ. The solos from Madden and Leitch as well as Caroline Burchell (Soprano) from the choir were effective and provided an excellent contrast to the powerful and moving central section of the work.

The second half began with a second bracket of songs from the Main Street Singers. This bracket included a similar selection to the first beginning with energetic and contrapuntal Cantus Gloriosus by Josef Swider and ending with two enthusiastically received spirituals. Overall the choir proved themself an impressive group of young singers evidenced both through the high level of proficiency in the singing and the impressive quality of their soloists. Their commitment to contemporary repertoire must also be noted and commended (although the fact that of five original 20th century compositions none were by women must be questioned).

The evening was concluded with Bach’s Cantata 66 ‘Erfreut euch, ir Herzen’ for this the City Choir were again joined by Madden and Leitch as well as Claire Barton (Mezzo-soprano) and a small, seven piece chamber ensemble from the Dunedin Symphony Orchestra. The opening chorus was declamatory and effective as the choir implores the audience to “rejoice” at the news of Christ’s resurrection. This was followed by a series of arias which displayed the virtuosity and tone of voice of the three soloists. The DSO ensemble was effective throughout with the pair of oboes dazzling in the opening chorus, a beautiful Violin obligato solo complementing the voices of Barton and Madden in the final aria. The final chorale was a fitting if brief conclusion both to the cantata and the concert.

By Nathaniel Otley, The Wave, 10 April 2018

Nathaniel Otley is a third year Music Student at the University of Otago studying Performance Violin and Composition. As a singer Nathaniel has sung in roles for both Opera Otago and Little Box of Operas. He has also sung in choirs including the New Zealand Secondary Students Choir and is a current member of the New Zealand Youth Choir.

Vibrant, dedicated and enthusiastic musical triumph

Standing ovation for Messiah 2017. Photo credit Ian Thomson

Handel's Messiah
Tuesday 12 December 2017
Dunedin Town Hall

Although originally written as pre-Easter music, it has become traditional for the approach of Christmas to be heralded worldwide by performances of Handel’s majestic oratorio Messiah, writes Elizabeth Bouman. City Choir Dunedin, Dunedin Symphony Orchestra and their guest soloists with musical direction from David Burchell, thrilled last evening with a full performance of the English-language Baroque oratorio which was first performed in Dublin in 1742 and has now become one of the best-known and most frequently performed choral works in Western music.

Dunedin’s performance last evening was a triumph, vibrant and well-paced, full of enthusiasm and dedication to delivering text and score.

The choir’s big choruses, (some performed without reading the score) such as Glory to God in the Highest, And the Glory and, of course, the Hallelujah achieved excellent balance of harmony and articulation, and the dynamic contrast in Since by Man Came Death was outstanding.

Madeleine Pierard (currently home from London) filled the hall with soprano strength and confidence for all her solo work.

Mezzo-soprano Claire Barton (Dunedin) possesses strong alto timbre, and her performance of He Was Despised, interpreted with passion and solemnity, was superb.

Tenor Ian Tetley (UK) achieved smooth almost counter-tenor-like tone in his upper register at times, especially in Comfort Ye, and his neat ornamentation also impressed.

Bass Jared Holt (Wellington) has a deep rich vibrato and like many with his voice type, had difficulty in clarity of definition in many of the melismatic passages Handel wrote for this part.

The orchestra showed precision and good articulation throughout, responding to Burchell’s command from his seat at the harpsichord.

It really was a magnificent occasion, rewarded by a very well-deserved standing ovation.

Review by Elizabeth Bouman, ODT 13 December 2017

Stamina delivers rewarding works

Photo: Pieter du Plessis

Scheherazade & Requiem
Saturday 30 September 2017
Dunedin Town Hall

Brahms' A German Requiem is an impressive work. Large in scope and demanding large orchestral and vocal forces, it is inspired by Lutheran scripture. While those who equate value with bank balance are vigorously excluded, the rest of us who toil honestly against the odds, are portrayed as earthly particles most likely to reach sweet heaven and have no more chores ever.

The music removes any ambiguity. It is serene, melodious, warm, lush and enveloping. There is no "dies ire", no fire and brimstone; the work simply fades away at its closing "Blessed are the dead". Theatrical awe is gained via the realisation of small things such as "For all flesh is like grass" and "The dead will be raised, imperishable".

The combined forces of the City Choir Dunedin and Dunedin Symphony Orchestra under the inspired direction of Simon Over made wonderful work of this challenging, stamina-taxing requiem. Though both the soprano and tenor are inevitably overtaxed on high exposed lines, and the body of the choir labours over layered lines and staggered entries, the choir as a whole is in fine form.

It gave an energetic, committed and, at times, an inspired performance. The voices of the soloists, soprano Rebecca Ryan and baritone Jarvis Dams, were both rich and warm, well suited to the work.

Solo performances by all of the Dunedin Symphony Orchestra section leaders in Rimsky-Korsakov's Scheherazade show the orchestra's overall strength. Tessa Petersen's solo performance of Scheherazade's voice was particularly spell-binding with some wonderful harmonics on high strings and the alluring dance well achieved. Answering passages from the lead cello, Heleen du Plessis, taking the Young Prince's voice were also well executed.

Both works created a long evening where perhaps the Brahms could have stood better alone.

Review for the Otago Daily Times by Marian Poole, 3 October 2017


Passion of a different kind was to the fore in Dunedin Symphony Orchestra's performance of Rimsky-Korsakov's Scheherazade and Brahms' Requiem, with City Choir Dunedin.

Conducted by DSO's principal guest conductor Simon Over, the concert's first half featured the stunning Scheherazade, transporting  the audience to the Arabian Nights and the Orient.

DSO concertmaster Tessa Petersen was superb in a leading role, announcing each "tale" with a burst of solo violin, and the orchestra was on point in every aspect of the complex work.

Brahms' Requiem, a monumental and sombre work, was a powerful showcase for City Choir Dunedin, which handled its demands with aplomb. Featuring seven movements sung in German, the Requiem moved through a range of moods, from gentle pastoral sound to triumphant praise.

The DSO and organist Simon Mace provided sterling support, while soloists Jarvis Dams (baritone) and Rebecca Ryan (soprano) were equally strong.

Another thoroughly enjoyable showcase from two Dunedin musical treasures.

Review for The Star by Brenda Harwood, 5 October 2017

Accolades for Lullabies concert

Some feedback from the Lullabies concert of 2 September 2017, in Knox Church:

Praise for Anthony Ritchie work: 
"Anthony Ritchie - congratulations on the very successful debut/premiere of 'Lullabies' at Knox Church last night. The work was captivating from first 'hush' to last whisper. Your music set the words with wonderful sensitivity, imaginative sound painting and limning of the myriad moods. David Burchell, City Choir Dunedin and the choirs of St Hilda's and Columba were polished and powerful; Tom Chatterton was outstanding, playing sensitively and astutely balancing the various vocal forces artistically - his organ registrations, apt at every turn. Kudos for this, your latest triumph. John van Buskirk, ODT 5 Sep 2017

Thank you so much for the wonderful program last night. It was thoroughly enjoyable. The mix of items and the mix of voices was great. Dunedin's choral history is in good hands! Again, thank you!
Moss Arnot (Facebook)

Congratulations on a fine concert last evening! Especially the performance of the Duruflé, I felt was spiritually inspired and a deeply moving musical experience. Thank you.
Jack Pritchard (Email to City Choir)

I attended last night's performance and was mesmerised from beginning to end. The precision of the choir was impressive and the voice blend was magical. Children and soloists equally fabulous. The friends I was with were equally impressed.
Brenda Jones (Email to City Choir)

Captivating choral cycle 'Lullabies' debuts

City Choir Dunedin. Photo: Ian Thomson

Lullabies
Saturday 2 September 2017
Knox Church

Knox Church rang with the sound of choral music on Saturday evening, as many singers contributed to a programme entitled "Lullabies", presented by City Choir Dunedin, with choirs from Columba College and St Hilda’s Collegiate. David Burchell conducted, Tom Chatterton (Wellington) accompanied at the organ, and the venue was almost filled.

This was Dunedin’s first performance of Anthony Ritchie’s Lullabies (2015), a captivating choral cycle with text from six poems by Dunedin-based poet Elena Poletti.

The songs differ in mood, depicting children’s bedtime and sleep, and are astutely scored with contrasting timbres of youthful choirs and adult mixed-voice harmonies.

Shush-a-shush opened with organ obligato, whispered "Shushes" and calm entreaties of slumber. Little One featured soprano Sophie Morris, in very professional deliveries of long sweetly toned phrases. Penguins brought a change of style with "tiny blue penguins" scurrying about as children prepared for bed, and The Night Singers featured Morris soaring above impressive harmonic choral textures depicting sounds of the night. Beddington and Hope of My Heart completed the half-hour cycle, which was highlighted throughout with colourful organ accompaniment.

The school choirs each presented a bracket of three songs and City Choir two choral pieces — a rather mundane delivery of Cantique de Jean Racine (Faure) conducted by Mark Anderson, and Tavener’s Song for Athene where exciting crescendo passages exonerated earlier intonation deviancy.

The second big work, Maurice Durufle’s Requiem contained some impressive choral endeavour, particularly in Sanctus, but overall rather too many untidy moments and pitch insecurity in the male ranks. Alex Lee sang strong baritone solos, and cello obligato came from Elaine Wilden. Soprano Beth Goulstone (replacing an indisposed mezzo at very short notice) coped admirably in the higher solo passages, however her low register lines were valiant but weak. My player-of-the-day went to Chatterton for virtuosic precision, clarity and balance of colour at the organ.

Reviewed by Elizabeth Bouman for the Otago Daily Times, 4 September 2017.

More accolades for the Lullabies concert...

Stunning performance of contemporary work

The Armed Man. Photo credit Ian Thomson.

The Armed Man: A Mass For Peace
Saturday 1 April 2017, Dunedin Town Hall

A near-capacity crowd at Dunedin Town Hall on Saturday evening gave a prolonged standing ovation to a stunning performance by the City Choir Dunedin, Dunedin Symphony Orchestra and soloists under the direction of David Burchell.

Jenkins' The Armed Man: A Mass for Peace (1999) is an important contemporary work with extraordinary public rapport. Audience response to, for example, the sudden explosive shock of bass drum and Hefin Owen's collection of edited newsreel images was palpable.

Jenkins repeats the structure of a Catholic Mass but makes a universal message by framing it with the 15th-century folk song The Armed Man and a Muslim Call to Prayer. The work also uses passages from Kipling, Tennyson and Toge Sankichi.

The soothing wrap of religiosity plays its part alongside the posturing war leaders, Jenkins' ''bloody men''.

Unfortunately, even Jenkins bookends war's traumas between nationalistic rallying of the fit and young and the outpouring of joy at the survivors' return. They are thereby inevitably justified and salved, at least for the victors.

 The performance, driven by Burchell, was rivetingly good; almost professional. Gorecki's a cappella Totus tuus successfully set the scene.

City Choir Dunedin gave its full commitment to very credible victims' screams and laments. Its Kyrie, Sanctus, Agnus Dei, and Benedictus were all beautifully articulated with fine sentiment, while its Charge! and Torches convincingly portrayed anguish. Mezzo soprano Claire Barton's Now the guns have stopped was most beautifully sung. Tenor Ben France-Hudson and treble Jesse Hanan both have fine, strong voices.

Muezzin Dhafir Moussa's Call to Prayer, Nigel Tucker (bass) and Sophie Gangl (soprano), comparatively unaccustomed to solo singing, are commended for their efforts.

The Dunedin Symphony Orchestra brass and percussion sections deserve special mention, as does Helen du Plessis' solo cello work.

Review by Marian Poole, Otago Daily Times, 3 April 2017.

What they said

Here are some snippets of audience feedback from City Choir Dunedin's concert in the Town Hall on Saturday 1 April 2017:

The Armed Man: A Mass For Peace, by Karl Jenkins

Letter dated 2 April 2017, addressed to David Burchell, City Choir Dunedin, and Philippa Harris and members of the DSO.

Saturday’s performance of The Armed Man was spectacular, inspiring, emotional.

I’ve heard choral works in Auckland, Wellington, Christchurch and London, Amsterdam, Germany. I don’t think I’ve heard anything performed better. And it is such a powerful work; especially reinforced by those images. The two doves will stay in my memory for ever.

As an historian I’ve known about “Man’s inhumanity to man” (and women and children) for 60 years but this 90 minute performance, spanning 1000 years ± was humbling and frightening. As the song says, “When will we ever learn?”

The standard of performance was outstanding. I heard Peter Godfrey on the radio some years ago. He said that he prefers to conduct New Zealand choirs, because they always give 100%, because they do only one or two performances. He said overseas, professional singers are always holding back for the next performance or the next engagement. I feel that about a lot of the Russian Ballet companies that come to New Zealand.

We are incredibly lucky to have David Burchell in Dunedin. As the Dutch say, “Long shall he live!” (In Dunedin!)

I gather I and others have Philippa to thank for the spread in Saturday’s ODT, without which I may not have made the trip from Hampden. Well done, Philippa! You keep the ODT up to scratch. In fact we are lucky to have the last family/locally owned newspapaer in New Zealand. Their coverage, and their opinion pieces, and the Monday International Supplement are brilliant.

Keep the great music coming.

Ken Bridge

Hampden

Other comments:

Stunning concert. As a man said to me walking out with tears in his eyes "Bloody Hell".

It was wonderful! It was truly a magnificent production and I enjoyed it immensely (well some distressing moments but certainly packed a message of "please let there be peace". As I had already bought tickets I gave them to someone who would not have been able to go and they also greatly enjoyed it . So once again, thank you.
Rita Lia Cooney

I wanted to write to thank you all for a memorable experience on Saturday night. I have rarely attended an event where the sense of communal emotional engagement was as powerful: like many people around me I openly wept. All of us were stunned and utterly swept up by the combination of the music and film. All the elements contributed: choir & soloists in fine voice with the words clear and moving; the orchestra and the organ thundering & whispering by turn; and the finely judged combination of gut-wrenching mages leavened, just as it all became too much, by a reminder of the beauty of nature in spite of the actions of man.

It’s heartening to think that 2,000 other audiences all over the world have already had a similar experience. What a shame we cannot make it a requirement of the school curriculum world wide : it might go a long way to sorting out the problems of the world.

Thank you again.
Warm wishes, Alison Cunningham

Several of my friends said - they did not want the music to stop - not enough adjectives to say what they thought of our performance. Maybe that might explain the long silence before they started applause? Maybe they hoped it was another silence and that more music would follow...
Carol Montgomery

Thoroughly enjoyed The Armed Man — great performance by all.
R James Fulton

I’m so glad to be back in the Choir after an absence of several years ... and I am very grateful to you all for making me welcome.

“The Armed Man” was a powerful and memorable experience. It was a great privilege be part of it I have been greatly impressed by David’s musicianship – he has an extraordinary talent for directing. Roland is efficient and diligent in the background, and those of you from the choir who ‘manage’ us do a very efficient job (and you do it so pleasantly!).

As the reviewer said in the ODT, it all made for a highly professional performance. My friends in the audience reported that they found the film too disturbing to watch in places, so they shut their eyes to enjoy the music all the more. One said that if you weren’t a pacifist before seeing the performance you would be afterwards. It was very emotional.

I’m looking forward to seeing you all again on Tuesday, and I’ll have my eyes shut during the film!
Marjorie Orr (alto)

Just to say that every bit of feedback I have had, from quite a few folk, had said it was stunning, amazing, poignant, brilliant, emotional, that the choir was excellent and sang so movingly and with such strength and precision. Positive all round.
Loraine Whitwell (alto)

What a wonderfully moving evening on Saturday night. I have no words to describe it really. We were near tears in so many places. The choir and orchestra were amazing and cannot get over the timing of everything. Well done YOU!! Most beautiful music.
Donna Peacock

It was an absolutely stunning performance which has replaced Zimbe and Messiah at the top of his 'Best Ever' list in 14 years of choir concerts.
Alan Jackson

Echoing the views of others re The Armed Man - it was excellent. My sister (Ruth in the choir) and I had seen the 2000th performance in the Albert Hall in June last year. It was magnificent in that setting but the intimacy of Saturday's performance plus the visual images made for a more moving performance.
Barbara Taylor

The family (including our German exchange student) were among those giving standing ovation – they absolutely loved the concert.
Gisela Sole

A stunning powerful work brilliantly performed by all involved. Thank you Dunedin.
Lyn McKee

Bach’s genius revealed in Christmas choral work

Some of the sopranos in the 2016 Christmas Oratorio performance. Photo credit Ian Thomson.

Christmas Oratorio

Friday 16 December 2016, Dunedin Town Hall

From start to finish – right through the six cantatas which comprise Bach’s Christmas Oratorio – the performance of this late-Baroque masterpiece by City Choir Dunedin and the Dunedin Symphony Orchestra in Dunedin Town Hall on 16 December 2016 brought home to an appreciative audience the composer’s inspired inventiveness in all its breadth and depth.

The jubilant opening chorus of Cantata 1 is as taxing as it is brilliant, but both choir and orchestra proved fully equal to the challenge – with trumpets and timpani adding zest to woodwind and strings – and were no less incisive in the similarly brilliant final chorus of Cantata 6. Great stamina and assured technique are needed to cope with the relentless demands of Bach’s music, and conductor David Burchell deserves much credit for getting the very best out of his choral and orchestral forces, and for keeping the music’s unflagging momentum going throughout.

As the music’s story progressed from Christmas Day to Epiphany, the vocal soloists were also continually tested and never found wanting. Tenor Iain Tetley, as narrator of the story itself, led the way, first for alto Claire Barton, then for bass Robert Tucker, and finally for soprano Lois Johnston, and in their arias all four commented – sometimes separately, sometimes jointly – on the implications of Jesus’ miraculous birth and its sequels. Highlights were Barton’s meditative “Lock, my heart, this blessed wonder” in Cantata 3 with Tessa Petersen’s superb violin solo, Johnston’s optimistic “My Saviour, does thy name instil” (ably echoed by Caroline Burchell) in Cantata 4 with Alison Dunlop’s lovely oboe solo, Tetley’s sprightly “I will live only to glorify thee” in Cantata 4 with its intricate string accompaniment, and Tucker’s sonorous “Great Lord and mighty King” in Cantata 1 with its rich scoring for trumpet, flute and strings.

In these and many other cases the orchestra’s stylish and sensitive contributions were crucial in delineating the music’s changing moods. But this review must give a parting accolade to the choir. Superhuman music like Bach’s demands something more than mere competence from voices and instruments, and the choir’s tonal and rhythmic precision in delivering the composer’s message – both in the complex counterpoint of choruses like “Glory be to God” in Cantata 2 and in the plainer chord-based style of chorales like “Be joyful, meanwhile” in Cantata 3 – was obviously the result of constant practice and careful attention to detail. Congratulations!

J. Donald Cullington

About the reviewer:

A native of northern England, J. Donald Cullington graduated in Classics at Cambridge before qualifying as a musician (with a BMus at Durham, a DMus at Edinburgh, etc.). His musical career - as pianist, organist, choirtrainer and teacher - spans five decades, and has included four years (1975-78) as Director of Music at St Paul's Cathedral in Dunedin, and twenty-eight years in Northern Ireland as initiator, developer and (for many years) Head of the Music Department at the University of Ulster.

Note:

Donald Cullington also reviewed the 2008 performance of Bach's Christmas Oratorio.

Ritchie oratorio launched to heart-rending effect

1 October 2016, Dunedin Town Hall. Photo credit: Pieter du Plessis

Gallipoli to the Somme
Saturday 1 October 2016, Dunedin Town Hall

Dunedin Symphony Orchestra, conducted by Simon Over, performed another 50th anniversary celebration in the Dunedin Town Hall on Saturday evening with a world premiere marking 100 years since the loss of so many New Zealand soldiers at the Battle of the Somme.

Anthony Ritchie’s oratorio Gallipoli to the Somme for orchestra, choir and two soloists drew text from diaries, poems and traditional songs, taking its title from Alexander Aitken’s book of war experiences in the Otago Battalion.

Aitken carried his violin to war with him, and the 55-minute work began with a beautiful lyrical violin solo (Tessa Petersen) setting the mood for an enduring memorial performance by DSO, 120 members of City Choir Dunedin and Southern Youth choir (directed by David Burchell) and Dunedin’s internationally acclaimed soprano Anna Leese and bass Martin Snell.

The choir was superb, rising to every demand of shading and balance, especially in the strong anthems E te ope tuatahi and All the Hills and Vales Along.

Programme text and detailed references enabled the audience to follow the powerful content of this emotional work, as soprano solos farewelled a lover or mourned the loss of three sons.

Train journeys and military action were assigned bass solos.

Declamatory, often unaccompanied solos were all gloriously delivered, emotional and heart-rending.

Noticeable was the ingenious scoring, never too busy or overshadowing text, yet always in character.

Percussion was important throughout.

After the final chord, complete silence held the audience before prolonged applause and standing ovation rewarded this brilliant new work.

Ritchie will be remembered as one of the greatest composers of his time. There were three other items.

Le Tombeau de Couperin, by Maurice Ravel, originally a six-movement piano suite in memory of six friends killed in World War 1, was later orchestrated.

Swirling sound from tight, tidy strings impressed throughout, with melodic themes suitably prominent. Australian born F. S. Kelly (1881-1916) composed few works before he was killed in action in France.

Elegy for String Orchestra ‘In Memoriam Rupert Brooke’ was written after the death (also at war) of his great friend British poet Rupert Brooke.

Again, the strings (including harp) excelled with rich texture, haunting lyricism and an emotionally laced, soft peaceful final passage.

A big, full orchestral sound for Wagner’s Prelude to Die Maeistersinger ended a magnificent programme.

Review by Elizabeth Bouman, Otago Daily Times, Monday 3 October 2016.

Fine show; Ryan, Barton standouts

City Choir Dunedin. Photo credit Ian Thomson

Theresienmesse & Magnificat
Sunday 3 July 2016, Dunedin Town Hall

Two 18th-century choral works performed on Sunday afternoon by City Choir Dunedin under the direction of David Burchell with the Dunedin Symphony Orchestra gave the 85-strong group and four soloists a unique opportunity to shine.

The first half of the programme, C.P.E. Bach's Magnificat in D Major, is a slightly dated work, albeit one that the composer always regarded highly.

Tenor James Adams and bass Matthew Landreth seemed slightly tentative in this work; not so soprano Rebecca Ryan, substituting for Lois Johnston, who was unwell. Ryan turned in such a polished performance that it was difficult to believe that she had been called only a day earlier.

The pick of the soloists, though, was alto Claire Barton, whose duo with Adam seemed to lift his game, and her solo Suscepit Israel was a first-half highlight.

After the interval came Franz Joseph Haydn's Mass No. 12, Theresienmesse, the better of the two works. In it, the soloists work in unison with the choir rather than delivering long solos. This is an attractive technique, which has contributed to the popularity of the work since its debut in 1799.

Possibly because of this interweaving, the soloists all seemed more comfortable than in the Bach, with Ryan and Barton especially pleasing.

Throughout Theresienmesse, the choir gave a sterling performance, the hours of rehearsal showing in polished delivery.

The big disappointment was the thin attendance. The Dunedin Town Hall's acoustics work best with a larger audience and the concert would have been even better had more people made the effort to attend.

Review by Gillian Vine, The Star 7 July 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.

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.

Familiar landscape emotively evoked

These Lands Are Ours

Saturday 26 September
Knox Church


A healthy-sized audience at Knox Church attended a rousing and emotive programme of nationally-inspired music performed by Dunedin Youth Orchestra and City Choir Dunedin.

The first half of the concert, performed solely by the orchestra, began with Douglas Lilburn's Drysdale Overture. This conveyed an impressionistic soundscape of New Zealand's natural beauty, transporting the audience between impetuous cadenzas and broad, elegiac melodies.

The work was performed with gravitas and rhythmic tightness, yet lapsing occasionally in brightness of tuning during some prominent melodic lines.

Thereafter, the first movement of Mendelssohn's Violin Concerto in E minor featured violinist Matthew Scadden, a performance student at the University of Otago. Whilst a hint of insecurity was evident at the beginning of the work, its performance grew boldly in stature, culminating in an impressive showcase of both soloist and orchestra.

A Run in Ross Creek, written by emerging composer Merlin Callister, evoked the dense greenery of its titular inspiration, conveying the melodic splendour of national-romanticism, whilst spiritedly colouring the musical language with warm, impressionistic vistas. In this, Callister's inspiring tone-poem was performed by the orchestra with abundant relish and panache.

The first half of the concert concluded with Alexander Mackenzie's fervent First Scottish Rhapsody. Through its imitative form and contrasting, nostalgic imagery of Scotland, it is a satisfying and emotive work, conveyed in particular through the compassionate tenderness expressed by the orchestra in the middle section.

Elgar's The Banner of St George provided the second half of the concert, sung with clear appetite by City Choir Dunedin, and accompanied by the orchestra.

David Burchell's direction, passionate and eloquent throughout the concert, piloted this late-Victorian drama of singularly English fashion. In this, the legend of St George and the dragon was conveyed with swashbuckling bravado.

A warm, well-blended choral tone, despite occasional lapses in clarity of diction, crafted a thoroughly inspiring performance; the work typified the excitement of Elgarian spectacle, showcasing the performers' fruitful combination of nimble, dexterous orchestral accompaniment and engaging, charismatic choral singing.

Reviewed by George Chittenden, Otago Daily Times 28 September 2015

Sea & Land concert review

Sea & Land
Saturday 8 August 2015
Knox Church

A choral programme which differed from its more customary repertoire was presented by City Choir Dunedin in Knox Church on Saturday evening, with St Kilda Brass Band, pianist Sandra Crawshaw, mezzo-soprano Claire Barton and tenor Samuel Madden. Conducting was David Burchell.

The evening began with Songs of Sea and Land, a selection of seven New Zealand folk songs arranged for choir with brass accompaniment especially for this occasion by Auckland composer David Hamilton.

The part-singing for these seafaring songs was quite demanding, and at times the brass accompaniment was overwhelming, but Lullaby, with prominent lyrics over softer harmonic brass texture, was very effective and highlights were Darling Johnny O and My Man's Gone with strong solo sections from Barton.

An a capella medley of Afrikaans folk songs (arr. Burchell) was well delivered with generally good balance and nuance.

The popular work by Constant Lambert, The Rio Grande (1972), is a setting of text by Sachacerell Sitwell.

Written for brass band, piano and choir, the work combines ragtime, syncopation and Brazilian influences.

The combination includes a demanding role for the pianist and Crawshaw was in her element, pounding out the syncopation with strength and virtuosity.

Fervent brass sections interspersed the choral text and the percussionists had a ball with this thrilling repertoire.

Three showy band pieces complemented the British folk song choral items of the second half of the programme.

Familiar tunes came with A North Country Fantasie, strong solo tenor from Madden in Brigg Fair and an interesting a capella arrangement of I Love My Love (Gustav Holst).

More mezzo lines were highlights and the final rollicking Green Grow the Rushes O provided an exhilarating finish to the evening.

Review by Elizabeth Bouman in the ODT, Monday 10 August 2015.

Virtuosic piano, then sound and fury

A Sea Symphony
Saturday 18 April 2015
Dunedin Town Hall

City Choir Dunedin and Auckland Choral join the Southern Sinfonia in their production of Vaughan Williams's A Sea Symphony.

A near capacity audience was enthralled by the wash of sound produced by two large works by inexperienced composers in the Dunedin Town Hall on Saturday.

Rachmaninov wrote his Piano Concerto No 1 in F sharp minor when he was just 17 (1890). Its earliest version shows all the the fiery exuberance, the self-indulgent display and confused revelry of adolescence, where melodic repose is merely snatched at.

Pianist Modi Deng's performance showed tremendous virtuosic power, quicksilver speed and as much elegance as can be wrought from the raw work. Her affinity with youthful works, first showcased in her 2010 performance of Chopin's Variations on Mozart's La ci darem la mano, written when Chopin was 19, was again deservedly acclaimed. We look forward to a similar display of her apparent but as yet underexposed expressive strengths.

The Southern Sinfonia was joined by the City Choir Dunedin and the Auckland Choral with guests soprano Anna Leese and baritone Marcin Bronikowski for Vaughan Williams' first symphony, A Sea Symphony (1910), under the direction of Nicholas Braithwaite.

A Sea Symphony washes the audience in sound and conjures images of moody seas.

Both soloists showed remarkable power in making themselves heard against the orchestral storms, thus revealing the work's strength and weakness.

Inevitably, Walt Whitman's fine words are lost in the melee. Though they are printed in the programme, what persists in the ear is the sibilant sounds.

Though performed with uniform dedication producing an enthusiastically received wall of sound, A Sea Symphony remains somewhat frustratingly all sound and fury.

The Southern Sinfonia farewells Stephen Christensen, president of the board, and concertmaster Sydney Manowitz.

The audience acknowledged Manowitz's distinguished and gracious career leadership of 20 years with a unanimous standing ovation, prolonged cheers and stamping feet.

Reviewed for the Otago Daily Times by Marian Poole, 20 April 2015.

Another view on Southern Sinfonia concert

It was a thrilling moment when a massed choir, representing both extremes of the compass of New Zealand, supported by Norma and the forces of the Southern Sinfonia, gave voice to the majestic Sea Symphony on Saturday night at the town hall. If the earth had vibrated at that moment we would not have felt it – such was the excitement of the waves, splashes and power of the sound sweeping over a rapt audience. Great was the contrast provided by the second movement with its delicate tone painting of gossamer-like transparency and the beautiful singing of the baritone soloist in On the Beach Alone at Night. The sea and its extensive moods were well limned throughout a work of much more than mere “sound and fury”. Clearly, not all members of the audience would be in accord with what the reviewer (ODT, 20.4.15) heard and reported about this concert.

As the programme notes made clear, Rachmaninov rewrote his first concerto, smoothing out the “confused revelry of adolescence”, reworking his material into more organic development. Modi Deng grasped this great concerto whole, demonstrating the power and speed that we expect in a performer of her exceptional ability. It was a beautiful and very moving performance. Ms Deng’s poise and wonderful sense of timing showed maturity beyond her years, creating a satisfying performance in all respects. Kudos to Modi Deng, Maestro Braithwaite et al.

John Van Buskirk
North Dunedin

Letter to the the Editor, Otago Daily Times, 21 April 2015.

Reviewed for The Star by Brenda Harwood, 23 April 2015.

Schubert and Mozart glorious with Sinfonia and vocalists

Mozart Requiem

Saturday 28 March 2015
Knox Church

Soloists: soprano Lois Johnston, mezzo-soprano Claire Barton, tenor Matthew Wilson and baritone Robert Tucker

City Choir Dunedin, Southern Sinfonia
Conductor David Burchell

City Choir Dunedin, Southern Sinfonia invited soloists and organist Simon Mace presented two choral masterworks in Knox Church on Saturday evening, conducted by David Burchell.

The choir of more than 100 voices was in excellent form, with reasonable numbers in bass and tenor, and a noticeable presence of younger singers in all sections, promising a healthy future for this city choir.

In 1816 Franz Schubert wrote an oratorio in 12 short movements, focusing on the anguish of Mary, the Mother of Christ. Stabat Mater (D. 383) is a beautiful assemblage of Schubert minor keys, and the performance achieved tragic tones where appropriate to match the German text, with some striking contrasts and impressive dynamics.

Woodwind passages were particularly sensitive, often in tandem with a vocalist, as in Ach, was hatten wir empfunden for oboe and tenor. Soloists were Robert Tucker (baritone), Matthew Wilson (tenor) and Lois Johnston (soprano) whose delivery achieved fitting dominance in solo passages, such as "... together at the Last Judgement", where her final phrase rose triumphantly to soar above choir and instrumentalists.

Mozart's health was failing as he embarked on composing a requiem Mass.

History records interesting "facts and fiction" surrounding the work's editing and completion by others, and it survives as the great Requiem Mass in D minor K. 626. Saturday night's performance was a celebration of the legacy of beautiful music left to the world by Mozart.

Claire Barton (mezzo-soprano) joined the soloists, and quartet passages achieved good balance generally, with text conveying conviction and empathy.

Burchell drew inspirational dynamics with impressive contrasts from his choir and musicians. Passionate shading for Lacrymosa and massive jubilant tone for Sanctus were indeed highlights, filling the packed church venue with glorious sound.

Review by Elizabeth Bouman for the ODT, Monday 30 March 2015.

Choir's baroque Christmas evokes joyful sound

[Photo credit Ian Thomson]

Gloria! A Baroque Christmas

Friday 19 December, Knox Church
Sopranos Cathy Sim and Lois Johnston, Mezzo-soprano Claire Barton, Tenor Benjamin Madden and Bass Tanara Stedman
City Choir Dunedin, Southern Sinfonia
Conducted by David Burchell

A gloriously full and joyful noise greeted a capacity audience at Knox Church on Friday for the City Choir Dunedin’s celebration “Gloria! A Baroque Christmas” directed by David Burchell and guest Assistant Conductor Mark Anderson. Guest soloists included Mezzo-soprano Claire Barton, recently returned from her studies in London, Sopranos Cathy Sim and Lois Johnston, Tenor Benjamin Madden and Bass Tanara Stedman. Barton’s voice has gained a mature depth and professional confidence in both Alto and Mezzo-soprano ranges. Her vocal agility, technical strengths and power were most successfully explored in the aria from Telemann’s demanding Erquickendes Wunder der ewigen Gnade. Sim’s clarity and Johnston’s rich depths worked particularly well in Vivaldi’s Gloria. Madden and Stedman shone in their recitatives from Bach’s Ich freue mich in dir.

Cathy, Tanara, Lois, Benjamin, Claire [Photo credit Ian Thomson]

While the Choir had its weak moments, the direction, venue and size of audience did much to create some almost inspired passages, notably from the choro piccolo in Clerambault's Hodie Christus natus est and from the full Choir in Vivaldi’s Gloria, under Anderson’s economical direction through the tight part work in Praetorius’ In dulci jubilo, and Burchell’s effusive direction of “For unto us a child is born” from Handel’s Messiah.

The evening opened with two almost turgid German works by Buxtehude and Schein, but the mood was lifted by Charpentier’s lilting In Nativitatem Domini Nostri Jesu Christi. The evening’s highlight, Vivaldi’s uplifting Gloria was kept to the final item. Encouraged by the well-deserved hearty applause Burchell gave an encore of three English composers’ versions of “While Shepherds watched their flocks” and an opportunity to present a New Zealand composer was lost.

Review by Marian Poole for the ODT, 20 December 2014.

The reviewer apologises: “My personal and professional apologies for not mentioning the superlative performance of the Southern Sinfonia in my review of "Gloria!".  Mea Culpa.”