 Bold Lucas keeping up a
great tradition
 |
| Members of the Choir rehearsing in
Symphony Hall |
After nearly 40 brilliant years
at the helm, Christopher Robinson was an impossible act to follow as
conductor of the City of Birmingham Choir, and it was inevitable that
some uneasinesses would be detected in the early concerts directed
by his successor.
But now, in his fourth season with
this much-respected chorus, and having already achieved a memorable
War Requiem with the CBC, Adrian Lucas has succeeded in
establishing a rewarding relationship of his own, and Saturday night's
concert proved a delightful and heartening affirmation of a
successful bond between conductor and choristers.
The programme offered a delicious
pairing of exuberant sacred offerings by Mozart and Haydn, church music
at its most intoxicating and most gratefully delivered.
Mozart's resourceful (five totally
different treatments of "Glory be to the Father") and
heady Vesperae Solennes de Confessore drew dynamic, crisp
choral delivery, though stronger initial attack would have given a
firmer launch to the "Confitebor" movement.
A compact, alert CBSO provided
lively accompaniment, with the natural trumpets of Jonathan Holland
and Wesley Warren a colourful feature.
Haydn's famous Nelson Mass
had an equally lively choral response, harmonies full and rich where
necessary, individual lines sturdily conveyed in the composer's
rigorous part-writing.
An efficient quartet of soloists
for both works was headed by Sophie Daneman, her eloquent soprano needing
more projection in the supplications with which she soars over
orchestra and chorus in the Haydn.
Tippett's Concerto for Double
String Orchestra, a welcome but strange interloper, could have sung
and danced more, more emphasis needed on accents.
Christopher Morley in
The Birmingham Post,
Monday 8 May 2006 |
... superb clarity and wonderful dynamics.
