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The Highgate Choral Society in full voice |
Chorus raises the roof
REVIEW: VERDI REQUIEM
Highgate Choral Society
THE Highgate Choral Society confirmed its reputation as one of north London’s leading amateur choirs with a powerful rendering of the Verdi Requiem at All Hallows Church, Gospel Oak, on Saturday. It was performed with the New London Orchestra and conducted by Ronald Corp.
The choir’s delivery of the great Dies Irae raised the roof with glorious singing, particularly the sopranos almost in Valkyrie mode, and the choir’s strengths of enthusiasm, accuracy, clarity of tone and balance were on display elsewhere.
Yet there were blemishes. As with other amateur choirs, the HCS lets itself down on occasion by failing to complete phrases at the marked dynamic, leading to droopiness as some singers run out of breath.
Occasionally, too, failure to give sufficient attention to consonants leads to a marshmallow effect of delightful, but wallowing sound.
The test for any choir performing the Verdi Requiem is not the unison singing of the Dies Irae but the multiple entries, syncopation and tortuous runs of the magnificent Sanctus fugue for double chorus.
Although starting strongly, the HCS failed to keep on top the fugue’s complexities and was only rescued by blasting brass taking over the proceedings.
Even so, the choir made amends with a lively and accurate rendering of the final fugue, the Libera Me.
The evening’s performance was greatly enhanced by a strong line-up of four soloists, Graeme Broadbent being outstanding as baritone.
Verdi gives particular prominence to the mezzo-soprano soloist, both singing with the choir and as the opening singer in duets, trios or quartets with other soloists. Hampstead mezzo Catherine Hopper rose to the occasion with some exquisite rich singing, beautifully phrased, her lovely opening to the Lacrymosa being one of the evening’s many joys. |
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