Past Performances 2010

Reviews 2010

OPERA FAVOURITES

Performance at the Buderim War Memorial Hall, October 24th, 2010

If opera is your musical ‘cup of tea’, then you would have had a good cuppa at the Opera Favourites concert staged in the Buderim Memorial Hall last Sunday afternoon by the Sunshine Coast Choral Society.

It was a concert of contrasts as well as fun. The contrasts came in the blend of youth and maturity of the performers -and it really was a great mix! It is really heartening to see so many young people so enthusiastically involved in a ‘classical’ concert of this type.

Conducted by Adrian King, who continues to do such splendid work on the Coast, this performance included the Pacific Junior Voices, a young choir from the Pacific Lutheran College where Adrian is Head of Instrumental Music. Adrian also introduced young PLC student Cameron Kirby, a star debater who often represents his school, to compere the show. His oratory and enthusiasm were most enlivening.

The real stars of the show were the two young soloists Soprano Elizabeth Smalley and Tenor Nick Kirkup. Both still studying at the conservatorium, these budding Opera stars with outstandingly fine voices flair and stage talent. They gave real pizzazz to the afternoon. And the young pianist Ryaed Owens, still at a very early stage in his career, accompanied both soloists and choir throughout with sensitivity and skill.

The musical contrasts showed up early. The first piece was the rousing and tuneful March of the Toreadors from Bizet’s Carmen, sung by the Choral Society and the fresh young Pacific Junior Voices. It was an opening of great promise for what turned out to be an afternoon of real delight.

The soloists soon showed their wares. Kirkup demonstrated his lovely tenor voice in a seemingly quite effortless, even laid back fashion. And Smalley in real coloratura style hit the high notes with mastery, even a top ‘E’ resonated with apparent ease. Their duet performances were most professional and quite delightful with very effective interaction between the two of them. They each have excellent stage presence which they used to good advantage, Elizabeth in a beautiful costume demonstrating appropriately operatic coquetry in response to Nick’s tender attentions, in addition to her vocal gymnastic skills.

The much loved Verdi Anvil Chorus was a highlight, with the help of two young ‘Smithies’, introduced by Adrian King with the words ‘I hope they do very well’. Fortunately, Harry and Lucas from Pacific Lutheran College performed very well indeed!

The male voices of the Choral Society were not as successful in their rendition of the Pilgrims’ Chorus from Wagner’s Tannhauser. After a good start, there was a disappointing loss of pitch and momentum. It was good to see a larger male contingent and to hear the swell and timbre of a male voice choir, but considerabley more polish and sensitivity were needed to do justice to this challenging and moving chorus.

Overall the choir gave a scintillating performance, and the fresh young voices of the Juniors added that colour and contras t which was a feature of this concert.

Acknowledgement must be given to the Government Arts funding body the Regional Arts Development Fund (RADF),for the support given this concert, on the basis that it was of educational benefit to the community, in particular young people.

BRAVO and ENCORE to all concerned !

Malcolm Naylor Mooloolaba Monday 25 October 2010

ST MATTHEW PASSION by Bach

Performance at the Lake Kawana Community Hall Saturday 17th July 2010

A musical milestone was reached on the Sunshine Coast last Saturday at the Lake Kawana Community Centre – with an extraordinarily moving performance of the St Matthew Passion by J.S. Bach, conducted by Adrian King. It was standing room only for the audience of five hundred music lovers. The audience responded with thunderous applause and a ten minute standing ovation, rarely seen anywhere.

No other work approaches The St Matthew Passion with its grandeur and architectural beauty. For centuries it has been regarded as the pinnacle of European achievement in music from the baroque era. Its performance was a huge undertaking, both musically and logistically, in a cooperative venture between the Sunshine Coast Choral Society and the Noosa Chorale. These two groups were joined by the Sunshine Coast Grammar School Choir, two eighteen piece orchestras and five professional soloists.

The arrangement of the choirs was visually stunning – all 126 singers, spread across the stage, in their black and red gowns, men in dinner suits, the children in their school uniform.

The lamenting choral fantasia set the scene perfectly for the Evangelist, tenor, Greg Massingham to begin narrating the suffering of Christ. He sang this role brilliantly, conveying the drama and sadness of the story of the crucifixion of Jesus.

The choral singing was rich and powerful, the voices blending perfectly, with the two large choirs each singing in four-part harmony in dramatic dialogue with each other – both contrapuntally and together in eight – part harmony – the children’s voices floating at times ethereally above them. The work is punctuated with one particularly well-known Chorale, sung by all three choirs, repeated in different keys and tempos, expressing different moods.

The orchestras richly enhanced the singing, with notable performances on oboe d’amore by Ronald Webb and violin by orchestra 1 Leader Trish Corben. Continuo was provided by two harpsichords and cello played masterfully by Huguette Brassine, Natasha Koch and Louise King.

The solo melodies are full of jagged intervals, which are exceedingly difficult to sing. The aria,“Have mercy, Lord”, sung by contralto, Susan Chapman, interwoven by arguably one of the greatest solos of the violin repertoire exquisitely performed by Trish Corben, was deeply moving. Soprano Anita Parakh-Morgan showed her remarkable ability to sing difficult roles with flair and tenderness.

Tenor Martin Paroz rose impressively to the most challenging aria “Endure, Endure”, accompanied sympathetically by harpsichord and cello.

After an evocative performance of the role of Jesus, the aria, “At evening, hour of calm and peace” was beautifully sung by Brett Holland with his powerful rich bass voice.

My highest accolades go to conductor, Adrian King, who since arriving from the UK in 2007 has so enhanced the musical life of the Sunshine Coast. In this performance, Adrian and his soprano chorister wife Helen had their two musician daughters also taking major roles – violinist Sarah Syme being the leader of the second orchestra, and Louise King playing cello continuo. Thus, one of the greatest musical masterpieces of all time not only came to the Coast, but was also a joyous family affair. We are indeed privileged to have this remarkable family amongst us.

Review by Marguerite Weber

THE CRUCIFIXION John Stainer

The Crucifixion was composed in 1887 with the intention that it would be suitable for most parish choirs in England to perform. After its first successful performance it attracted fierce criticism both for the libretto and the music. Defense of that criticism may have been responsible for it gaining popularity as an Easter oratorio.

That aside, the performance on Sunday April 18th by the Sunshine Coast Choral Society was well received by an appreciative audience. The subject is a very powerful one and my reading of the suffering that happens to a person who is crucified is extremely chilling. I was looking for that being expressed in the singing and I was not disappointed.

Daniel Pamenter-Calder, better known as the conductor of the Oriana Choir, sang the tenor role, starting with a one-liner “And they came to a place called Gethsemane”. With his beautiful voice he sang this sorrowfully and quietly, setting the tone for the entire work. His facial expression and general demeanor also helped to convey his sincerity, thus confirming my opinion that he is a very fine tenor soloist as well as an excellent choral.conductor. We must hear more of him!

Bass, Ian Rix, followed, reverently, expressing the agony being felt by Christ. The sorrowful atmosphere continued with the choir joining in, their voices blending in beautifully and strongly. Unfortunately he was unable to sustain his good beginning. His duet with Daniel, “So Thou lifteth Thy divine petition” was more successful.

One of the most moving parts described the two malefactors (the other two men crucified with Jesus),one of which taunted him, asking why he could not save himself. The other asked to be remembered when they met in the afterlife. Two members of the bass chorus, Laurie West and Jonathon Whitburn, sang these roles. Jesus, (Ian Rix) sang the part of Jesus, pianissimo and straight from the heart.

The oratorio contains many dramatic moments, including the choruses, “Fling wide the gates” “God so loved the world” to name two. The lovely blending of the voices in the choir conveyed the expressive and tender spirituality of the words. “The Appeal of the Crucified” was sung with great sincerity, a great dynamic range and dramatic crescendos and diminuendos. It was a highlight of the afternoon.

The emotional and sorrowful final recitative “After this, Jesus knowing that all things were now accomplished” sung by Daniel and the choir was unfortunately marred by the clinking of the cups for afternoon tea and twittering parrots outside the building.

Five hymns written by Stainer are included and intended for the audience join in the singing. Most people preferred to just listen to the choir. The final hymn “For the Love of Jesus” finished on a note of hope for all mankind.

Adrian King again conducted with precision and deep sincerity. It is amazing how a few extra male voices redressing the balance between male and female voices, make such a difference to this wonderful singing that we heard on Sunday.

Sitting in the middle of the church I wondered where the organ sounds were coming from. Natasha Koch worked magic on the smallish electronic organ, which was an acceptable substitute for a “real” pipe organ.

The afternoon concluded with Part 2 of “The Messiah”, finishing with the Hallelujah Chorus.

As the first choral concert for the year, it was a stunning beginning.

Review by Marguerite Weber