SPRING SERENADE - Concert Review
From press review submitted to the Perthshire Advertiser by Ian Stuart-Hunter
Published: Tuesday 3 May 2022
Spring Serenade was the title of Chansons’ well attended and well received concert in the historic St.John’s Kirk, Perth.
Chansons have always been an excellent local choir and under their conductor Areti Lymperopoulou they gave huge musical enjoyment in works ranging from the Elizabethans Morley and Dowland, through 20th century greats Holst, Poulenc and Kodaly to contemporary.
Largely unaccompanied, occasionally lutenist Eric Thomas seconded them, himself in solos: Dowland’s Lacrimae Pavan and its divisions and a lively Frogg Galliard, both dances having line and impulse.
Chansons began with two madrigals embodying Spring and love. These were given with a precise freshness in clear diction. The pay-offs clear in intent. Poulenc’s Salve Regina had both conviction and clarity in the differing registers of the choir. Fervency was there, too, in the two Kodály items, first in the nonsense verse then more seriously in the second dedicated to anyone far from home, thinking particularly of the people of Ukraine. And a nice low note from the basses at the end.
With Eric Thomas Songes or Ayres by Dowland came next, first from the choir then Carol Osborne stepping forward for the solo Fine Knacks For Ladies with good ornamentation. Sun, in the form of the beloved was present in bright distinct tones in Marenzio’s madrigal, before the Aegean folksong above an ostinato in Constantinidis’ Girl from Smyrna.
Csemliczky’s Our Father was finely set beautifully sung. The humanity of the singing came over well in Orbán’s Nunc Dimittis. The most difficult music of the evening was probably Gesualdo’s dark, chromatic O Vos Omnes, poignant in dolor sicut meus (sorrow like mine).
Light came again in Dowland with the hymn-like Come Again Sweet Love and a solo contribution from tenor Andrew Davidson, then Tomkins See, See The Shepherds’ Queen adding rejoicing and Fa la las.
Most extended of the evening were Holst’s Six Choral Folksongs: Spring mentioned again, then almost a tongue twister. Morag Gaskin’s good, smooth voice was solo in Matthew, Mark And Luke And John and the humming drone of the men in verse two.
The Blacksmith used a well-known folksong and good rhythm imitating hammer and anvil. The narrative was well sustained in I Love My Love intertwined finely with the chorus. Most impressive was Swansea Town, strongly sung and with a sting in the tail. A bit of fun to finish with was Simon Mold’s arrangement of five Nursery Rhymes, sending the large audience home with smiles on their faces. A total success, even the programme was beautiful.
Chansons have always been an excellent local choir and under their conductor Areti Lymperopoulou they gave huge musical enjoyment in works ranging from the Elizabethans Morley and Dowland, through 20th century greats Holst, Poulenc and Kodaly to contemporary.
Largely unaccompanied, occasionally lutenist Eric Thomas seconded them, himself in solos: Dowland’s Lacrimae Pavan and its divisions and a lively Frogg Galliard, both dances having line and impulse.
Chansons began with two madrigals embodying Spring and love. These were given with a precise freshness in clear diction. The pay-offs clear in intent. Poulenc’s Salve Regina had both conviction and clarity in the differing registers of the choir. Fervency was there, too, in the two Kodály items, first in the nonsense verse then more seriously in the second dedicated to anyone far from home, thinking particularly of the people of Ukraine. And a nice low note from the basses at the end.
With Eric Thomas Songes or Ayres by Dowland came next, first from the choir then Carol Osborne stepping forward for the solo Fine Knacks For Ladies with good ornamentation. Sun, in the form of the beloved was present in bright distinct tones in Marenzio’s madrigal, before the Aegean folksong above an ostinato in Constantinidis’ Girl from Smyrna.
Csemliczky’s Our Father was finely set beautifully sung. The humanity of the singing came over well in Orbán’s Nunc Dimittis. The most difficult music of the evening was probably Gesualdo’s dark, chromatic O Vos Omnes, poignant in dolor sicut meus (sorrow like mine).
Light came again in Dowland with the hymn-like Come Again Sweet Love and a solo contribution from tenor Andrew Davidson, then Tomkins See, See The Shepherds’ Queen adding rejoicing and Fa la las.
Most extended of the evening were Holst’s Six Choral Folksongs: Spring mentioned again, then almost a tongue twister. Morag Gaskin’s good, smooth voice was solo in Matthew, Mark And Luke And John and the humming drone of the men in verse two.
The Blacksmith used a well-known folksong and good rhythm imitating hammer and anvil. The narrative was well sustained in I Love My Love intertwined finely with the chorus. Most impressive was Swansea Town, strongly sung and with a sting in the tail. A bit of fun to finish with was Simon Mold’s arrangement of five Nursery Rhymes, sending the large audience home with smiles on their faces. A total success, even the programme was beautiful.
Published: Tuesday 23 November 2021
STEFAN CLAAS 1968 -2021
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We were extremely saddened to learn of the passing of Stefan Claas on 16 November. Stefan was a highly respected, much loved and talented singer, choir director, music lecturer, composer and friend of Chansons.
Members of Chansons had the privilege of singing under Stefan's direction in 2016 as we took on Bruckner's Mass in E minor as a joint choir with Ars Antiqua at Perth Concert Hall. And, more recently during our visit to Aschaffenburg in 2019 where once again the choirs joined forces. Our thoughts remain with Stefan's family, friends and of course the members of Ars Antiqua. |
Published: Thursday 10 June 2021
BACK TOGETHER AGAIN AFTER 15 MONTHS
We embraced the opportunity to sing safely together again at an outdoor rehearsal in line with COVID-19 guidelines.
After months apart, having only been able to rehearse virtually over Zoom, we enjoyed singing together again this week, for the first time since March last year, when the pandemic hit and all choir activity had to be suspended.
The socially distanced outdoor rehearsal took place on Monday 7 June and was planned and executed rigorously in line with COVID-19 guidelines to ensure the safety, wellbeing and health of our singers. You can view our full risk assessment here. Following Provost Farquharson's permission, we were able to meet in the grounds of St. Ninian’s Cathedral.
26 singers, our Musical Director, Areti Lymperopoulou and accompanist Gordon Murch enjoyed rehearsing a wide range of repertoire including 'Locus Iste' by Bruckner, Ave Verum Corpus' by Elgar and 'Jungfrau Dein Shoene G’stalt' by Hassler.
After months apart, having only been able to rehearse virtually over Zoom, we enjoyed singing together again this week, for the first time since March last year, when the pandemic hit and all choir activity had to be suspended.
The socially distanced outdoor rehearsal took place on Monday 7 June and was planned and executed rigorously in line with COVID-19 guidelines to ensure the safety, wellbeing and health of our singers. You can view our full risk assessment here. Following Provost Farquharson's permission, we were able to meet in the grounds of St. Ninian’s Cathedral.
26 singers, our Musical Director, Areti Lymperopoulou and accompanist Gordon Murch enjoyed rehearsing a wide range of repertoire including 'Locus Iste' by Bruckner, Ave Verum Corpus' by Elgar and 'Jungfrau Dein Shoene G’stalt' by Hassler.
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Our Administrator, Lorraine Trayner, who coordinated the event said: “What a huge joy it was for Chansons to meet and sing together on Monday evening! Singing and making music is what we love to do. |
“We were overjoyed when, in May, the Scottish Government guidelines permitted amateur singing groups to meet outdoors. There are still risks of coronavirus infection so we knew we had to put some careful safeguards and arrangements in place and to follow official guidance. We are very grateful to 'Making Music', a nationwide organisation supporting amateur music groups, for their invaluable advice.
“Preparations included drawing up a Risk Assessment, circulating instructions/guidance to members, ensuring social-distancing could be maintained and much more. A suitable venue was identified and a choir seating plan was measured so that everyone was spaced a minimum of two metres apart.
“It was a perfect warm summer evening, and, from the rooftop of the cathedral, the birds joined in with our singing. A wonderful experience for us all!'
“Preparations included drawing up a Risk Assessment, circulating instructions/guidance to members, ensuring social-distancing could be maintained and much more. A suitable venue was identified and a choir seating plan was measured so that everyone was spaced a minimum of two metres apart.
“It was a perfect warm summer evening, and, from the rooftop of the cathedral, the birds joined in with our singing. A wonderful experience for us all!'
