12th December 2011 -
Reasons to be grateful to Perth's Chansons choir
WE SHOULD be thankful to Perth choir Chansons and their conductor Howard Duthie for
two reasons, writes Garry Fraser. One is their ability to maintain a high degree
of excellence in performance -
The other is their knack of providing unknown vocal works which are captivating.
Both factors can be put down to conductor Howard Duthie, and imaginative programmer and a man with the ability to get the best out of his charges.
On Sunday evening, the choir returned "home" to the refurbished St. John's Kirk and
presented a programme that was well-
The works chosen, by Copland, Handel and Dove, might have had lesser choirs baulking
as they were in now wway facile but Chansons' razor-
The opening Copland In the Beginnin, sung a capella, was terrific, and amazing mix of chant, unison and harmony. It was 15 or so minutes of hard, concentrated effort but the choir passed the test admirably, aided and abetted by the sparkling performance, mostly in recit, of soprano Rosie Bell.
The final few bars capped the lot, and highlighted the superb acoustic of the kirk.
Ms Bell came into her own in Handel's Laudate Pueri Dominum, with the singers joined by the Angus Chamber Orchestra. Her runs were absolutely flawless and her delivery crystal clear.
The beautiful Sit Nomen Domini with oboe obligato was simply divine, and the final Gloria was a typically bright and resonant Handel chorus. A more quixotic work was Johnathan Dove's Kothener Messe, the composers's take on the dreams of JS Bach.
Duthie introduced it as a "dreamy experience" and it was out of this world in places, with Dove's quirky setting and imaginative construction making a work that deserves 10 out of 10 for originality.
The orchestra had not been fully employed during the evening but were given their chance to shine on their own in the fourth of Bach's Brandenburg concertini which they did with an amount of success, although I felt thgat the balance between soloists and orchestra wasn't quite 100%. If you add an emotive Tavener work, Exhortation and Kohima, as a remembrance day contribution, then you have the whole package from a choir more than deserving of another feather in their cap.
22nd April 2011 -
Chansons -
St Mary's Monastery, Perth, was the venue for Chansons' sold-
Greeted by the most friendly applause, Chansons opened with the earliest piece: Monteverdi's Beatus Vir. Founded on the rather more secular madrigal Golden Tresses, the Perth choir gave a smilingly alert performance.
Their florid singing at Exultavit was good and a return to the original material made for a joyful conclusion with radiant chording on the Amen.
Interestingly, conductor Howard Duthie had soloist Alister Allan begin with the plainchant basis for each of the four short pieces in Durufle's Quatre Motets.
The basses gave a firm foundation in Ubi caritas and the women shone with lustrous tone in Tota pulchra. Tu es petrus was a vigorously rhythmic and the slightly more extended final Tantum ergo had beautiful lines and harmonies.
Accompanied by cello, double-
The first half ended with an impressive performance of Buxtehude's Magnificat.
A less sophisticated piece than the French works, it contained more forthright praise.
With vigorous fortes and good solo contributions, particularly Alister Allan's at Essurientes, Chansons made a hugely impressive sound in the church acoustic.
Mozart's Quintet had some problems with both intent and realisation; it had a fine dramatic start but suffered from edgy intonation.
The andante was really too slow.
The canonic minuet was best in the replying statements.
The final Theme and variations showed some indifference to dynamics, but were at their happiest in the coda.
A fine vigorous performance of Bach's Motet Singet dem Herrn ein neues Lied ended
the evening -
This piece really is a vocal concerto and its received a suitably virtuoso performance in the fast outer movements.
The last movement had great drive and ended with inspiting cries of Alleluia.
For the slow central movevment Howard Duthie placed the solo quartet away from the main group, the faster moving, fine vocal filigree of their Aria interspersing and sounding distinct from the warmer, slower moving Chorale from the main body of Chansons.
In all details a superb concert and received as such by the full church
15th March 2011 -
Chansons are Créme de la Créme
“Birds, Bubbles, Mice and Men” is the sort of wording on a poster that makes you want to investigate more, writes Garry Fraser.
The attraction is even greater when it is the title of a programme of songs by Perth-
Their attributes are evident... Good diction, excellent balance, smooth phrasing and perfect projection... And directed by Howard Duthie they have made an indelible mark on the Tayside music scene. This is due to a mix of natural ability and Duthie’s ability to coax the best out of his singers with some congenial and meticulous control.
Their concert on Sunday night in Broughty Ferry New Kirk started with the serious and ended with the satirical and was as polished a performance as one could wish for.
The programmed covered Monteverdi’s Beatus Vir, a Magnificat attributed to Buxtehude, 17th century madrigals, 20th century songs, a barbershop I’m Forever Blowing Bubbles, Roberton’s Mice and Men, Dei’il’s Awa’, Country Gardens and Old Macdonald.
This was the choir’s first foray to Dundee. I hope it won’t be their last.