Evaluation: Luminous Voices, and orchestra, excel with troublesome job of J.S. Bach's Mass in B minor

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Onerous on the heels of their live performance dedicated to music centred in Alice in Wonderland, Luminous Voices introduced their closing live performance of the season: J.S. Bach’s Mass in B minor.

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Maybe probably the most difficult work to carry out among the many giant masterpieces of the choral repertoire, Bach’s Mass wants a top-notch choir, a virtuoso orchestra, and soloists of greater than regular capability. That Luminous Voices was in a position to put collectively a efficiency as wonderful as this efficiency was is a testomony to the depth of sources that was in a position to be mustered.

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That the choir itself sings nicely is now no shock, having acquitted themselves with distinction for a decade. Nevertheless it was a selected deal with to listen to the choir performing (once more) with Rosa Barocca (Claude La Palme, creative director and conductor), on a excessive after their current Juno win.

For all of the choral excellence displayed, it was the contribution of the orchestra that gave the efficiency its particular zing. Taking part in with interval devices, and within the fashion of Baroque efficiency observe, the orchestra supplied a marvellous underpinning to the choral voices, underlining sure voice traces, offering obligato solos, and, strikingly, the brilliance that’s doable solely with Baroque trumpets.

One can hardly overstate how troublesome it’s to ship the trumpet components on this work (and in addition the well-known horn solo within the Quoniam) with the poise and accuracy displayed on this event. This was matched with the remarkably expressive enjoying of the Baroque flute by Soile Stratkauskas, notably within the Benedictus.

In any work by Bach, oboes get their full share of notes to play, the sound of the oboe being central to the Bach sound. And right here, as a substitute of the same old evident challenges one encounters with an usually unmanageable instrument, there was plangent sound in lots, and delivered with safety. The strings total, and particularly Paul Luchkow as concertmaster, have been expressive and excellently in tune, with a lithe method to rhythm and phrasing. The continuo ensemble, the quiet spine of the efficiency, dealt with its position with a gentle hand.

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One generally wonders how this choir can produce such exact, eloquent singing, and so persistently. One thing of a solution was on show at this efficiency, extra evidently maybe than in a purely choral context. As with a hockey group, having first-class gamers actually helps. So too with a choir. And on this event, one might gauge the vocal depth of the choir within the ceaselessly missed alto part.

All of the solos for feminine voices have been taken by members of the choir, permitting the viewers to listen to particular person choristers. Three of the alto members have been heard as soloists, all of them singing with the vocal high quality and assurance anticipated of touring execs. Celia Lee was given the well-known Agnus Dei on the finish of the work, one of the expressive (and troublesome) arias within the oratorio repertoire, an aria she sang by reminiscence and with the best impact.

The great Laudamus te was sung by Sara Staples along with her customary elan and conviction, with Patricia Thompson, additionally with beneficiant voice, the soloist within the Qui sedes and becoming a member of Lauren Woods within the charming Et in unum Dominum. Lauren Woods, from the soprano part, sang all of the soprano solos, filling in for Hannah Pagenkopf who was initially scheduled. Along with her expressive, wealthy voice and positive method of singing, she delivered all the things that was wanted and extra.

The 2 male soloists have been invited. Each have been excellent. Sumner Thompson was new to me as a singer. However what a deal with to listen to him in these difficult bass components. Usually a bass who can sing the Quoniam struggles with the a lot higher-lying Et in Spiritum sanctum Dominum, or vice versa. Not right here. Whereas he’s, basically, a baritone, he possesses the heft and weight wanted within the backside register to embody each of those difficult arias. Basically, nevertheless, it was his technical assurance, high quality of voice, and full mastery of the Bach fashion that made his contribution so vital to this efficiency. This was the excellent solo contribution of the night.

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Zach Finkelstein sang the tenor solos, together with the celebrated Benedictus, often fairly iffy in most performances. With a voice completely suited to this music, all of the difficulties appeared to fade within the mellifluous, straightforward eloquence of his singing. It isn’t exhausting to see why he’s a lot sought-after within the early music world as a tenor.

The choir sang splendidly all through the efficiency, even when the sopranos have been stretched to the restrict in probably the most difficult of components for his or her voice sort. The tenors soared above the choir when wanted, displaying straightforward mastery; solely the basses have been, on this event, a bit mild in vocal presence.

Conducting together with his regular power and full information of the rating, conductor Tim Shantz led the mixed forces with authority, judging the tempos and character with surety. Shantz continues to be the creative centre of Luminous Voices, pivotal to their persevering with exceptional success as a performing group. He deserves full credit score for bringing all of the forces collectively on this wonderful, much-enjoyed efficiency earlier than a packed auditorium.