A Prism of Sound

Saturday night’s concert by the Cantabile Chamber Singers, with their conductor Cheryll J. Chung, at Church of the Redeemer; entitled A Prism of Sound, was the last of their 2023/24 season and, I think, the first time I’ve seen this particular choir.  It was an all Canadian programme.  The first part consisted of works by various choral composers like Matthew Emery and Peter Togni and it was all tonal works for unaccompanied choir on, basically, liturgical texts.  It was pleasant enough but, for me at least, after a while one Ave Verum Corpus sounds much like the rest.  I surprised myself by really quite liking Emery’s Sweetest Love which was quite complex and rather overturned my previous impressions of his music.  I also enjoyed Eleanor Daley’s setting of an extract from the Song of Solomon; Upon Your Heart.  But maybe that’s because the text has special resonance for me.  No complaints about the performance though.  They are a very good choir.

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Fruitful and Sacred Ground

Yesterday’s recital in the RBA was given by soprano Simone Osborne and the very busy pianist Stephen Hargreaves.  The program began with three Mozart songs that I was not familiar with; Oiseaux, si tous les ans, Dans un bois solitaire and An Chloe.  They were unfamiliar to me but Mozartian in a pleasing, intimate way; very much songs rather than concert arias.  They got a clean, rather dramatic reading with real feeling from both parties.  Next came the Ariettes oubliées of Debussy.  Here we have texts by Verlaine of a mostly languorous ecstasy variety with a complex, very impressionistic piano part.  Indeed they really do sound like pieces composed by someone who prefers writing for the piano and Stephen brought out their somewhat ethereal qualities nicely.  Still the soprano gets to spin some very beautiful languorously ecstatic lines and there’s even one piece; Chevaux de bois, where the mood changes and the singer can have some fun.  Which Simone did.

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Moths

MonicaWhicherThe third Canadian Art Song Project annual concert was given yesterday lunchtime in the Richard Bradshaw Amphitheatre.  We were given four works; all by Canadian composers, and in a sufficient variety of musical idiom to make for a most interesting concert.  Soprano Monica Whicher and pianist Kathryn Tremills gave us Dissidence (trois poèmes de Gabriel Charpentier) by Pierre Mercure.  This 1955 work sounds rather like Ravel or perhaps early Poulenc with its symbolist poetry and rather literal musical setting.  It sits very nicely for Monica’s voice though and she sang very beautifully.  It seems not all modern composers hate sopranos.

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