The Australian Chamber Orchestra and Choir of London’s luxurious Christmas gift to us was an inspired and inspiring performance of Bach’s Christmas Oratorio. It is in 6 parts, all originally separate cantatas performed on different days at different churches in the years 1734-5 and tells the Gospel story of the Nativity in a many layered, sumptuous performance. Sometimes the music is soaring, lyrical and rippling ,at other times it is contemplative or tumultuous. This particular concert Experience lasted four hours as it included an hour dinner interval. One wonders however if this would have been better suited acoustically and atmospherically to the City Recital Hall.
Technically the standard of musicianship throughout from the core ACO instrumentalists and their guests was both vibrant and scholarly precise with great attention paid to the period instruments .It was interesting to see the use of a chamber organ and the oboes d’amore and oboes da caccia for example among those instruments played.
In Monday’s concert, special guests, The Choir of London, performed as a most impressive general choir (assorted angels and shepherds and other characters) while simultaneously featuring successive soloists of exceptional quality from its ranks to perform the various arias and recitatives as required. One of the altos however, was a little drowned out by the orchestra at times but otherwise it was a stunning performance. The Choir of London, described as ”a flexible community of musicians who create change”, is the idea of Michael Stevens, based in Melbourne. The choir aims to increase musical opportunities throughout the world for those with limited capacity for making music within their environment and succeeds in its goal marvelously.
Tognettis’ conducting was energetic and vibrant, full bodied and at times was practically dancing with fluid bends, outstretched arms and grand portes des bras. This was contrasted with assured but far smaller other indicative movements. And his violin playing was hypnotic, powerful and sublime – for example in the duet with alto Fiona Campbell in the aria Keep Thou, My Heart Now which was one of the highlights, closely followed by Tognetti and Helena Rathbone’s wonderful fugato that introduced the aria I Would but For Thine Honor Live Now, in Part IV. The exquisite opening of part 11, the lyrical Sinfonia Pastrorale , was ravishing too .
As the first thrilling sounds of the opening rippling chorus filled the auditorium, it became obvious that the evening would provide an aural feast. Bach’s version of the story of the birth of Jesus in Bethlehem is, as a colleague of mine has said, ‘a joyous current, which bursts forth from the more melancholy, foreboding interludes in exuberant trumpet, horn and timpani orchestration’. For example in the bright trumpets and rippling melodies of Part 111 .And did I hear parts of ‘O Sacred Head Sore Wounded’ in Part 1?
Featured soloist, darkly handsome tenor Nicholas Mulroy, in the role of Evangelist, set the standard for the entire performance with his opening recitative. His dramatic presence and powerful vocal strength kept the audience attentive within the story of the Oratorio, providing continuity as each excellent soloist added different nuances with their particular contributions. Special mention must also be made of bass Alex Ashworth in various bass roles in particular that of Herod in Part VI.
Julia Doyle’s shining aria, But a Wave of His Own Hand, in the concluding Part VI was another unexpected, delightful surprise.
The audience expressed their appreciation at the end with thunderous applause and a tumultuous standing ovation richly deserved. Fabulous Christmas fare.
This was a one off performance at the Concert Hall on December 16 2013. The concert ran for 4 hours including a one hour dinner interval.
Photo by Jon Frank
