Some of our earlier successes.
Holst Two Psalms and Britten St Nicolas.
Handel Jephtha.
Mendelssohn Elijah.
Purcell My Heart is Inditing.
Other Comments.
All comments from the Birmingham Post and Mail.
Holst Two Psalms and Britten St Nicolas.
Joy and enthusiasm.
"Colin Baines’ conducting expertise has long been admired, combining magisterial authority with an
unflaggingly joyous enthusiasm, regularly coaxing fine performances from his Birmingham Choral Union.
Saturday was no exception, with his willing singers combining full depth of tone with clarity of line in a
range of textures. Holst’s two Psalm settings (86 and 148) were particularly communicative (such mellifluous
males in the latter) with the CU treatment, textual delivery bitingly clear.
. . . . Pamela Davies was the remarkably true-voiced soprano soloist here, with tenor Stephen Davis
smooth and flexible of line; . . . .
Britten’s Saint Nicolas made its usual appealing impact, with the brilliant little orchestra crisp
and incisive. Assured boy trebles contributed a huge "ah" factor."
Handel Jephtha.
Biblical tale given vivid meaning."Handel’s Jephtha freely reworks the Old Testament story (warrior) offers sacrifice to secure victory
and unwittingly condemns daughter) to provide both a happy ending (death sentence commuted to lifelong celibacy)
and heightened personal tragedy, through an extended family of non-biblical characters.
This latter adaptation necessarily places a heavy onus on soloists. Birmingham Choral Union redressed the
balance in its favour on Saturday with some judicious cuts, and demonstrated its own narrative instinct
in the two choruses where it had a dramatic role, sombre as contrite Israelites and eloquent as distraught priests.
Although conductor Colin Baines extracted vivid meaning here, even his customary energy could not always secure
diction and definition , and the choir’s strengths (determination, buoyancy and a good blend, notwithstanding
the heavily outnumbered men) were showcased in the upbeat first and closing choruses, rather than at the
oratorio’s desolate heart, "How dark, O Lord".
The orchestra too was at its best when flexing its muscles in the overture and symphonies, less sensitive in its
treatment of the six soloists.
Their recitative singing was impressive however. Consistently clear, Zebul (Jephtha’s half-brother) and Storge
(his wife) were also effective communicators, the copy-bound Jephtha himself less so.
All were eclipsed by stunning performances from Sasha Johnson-Manning as the daughter, Iphis. and Mark Chambers
as her bright-voiced suitor, Hamor. Manning’s pure sound and perfect intonation, warmed with a hint of expressive
huskiness, will remain unforgettably evocative of the girl’s innocent, selfless acceptance of fate."
Mendelssohn Elijah.
Real depth and colour."Birmingham understandably feels a proprietorial pride in Mendelssohn’s Elijah, given that it was
commissioned for the city’s 1846 festival, but it takes more than loyal affection to make this music work.
It certainly helps, though, if it generates the kind of commitment and attention to detail reflected on Saturday
in conductor Colin Baines’ exuberant, energising direction and the excellent choral discipline of the BCU
and its Dutch guests, Heemsteedse Christelijke Oratorium Vereniging.
This attentiveness brought a powerful, anguished first chorus and vigorously articulated drama, but even
more impressive in view of the potential imbalance inevitable when ladies outnumber men three to one, it
secured real depth and variety of vocal colour. Subsections of the chorus singing in quartet and trio were
frailer, but otherwise a few weak entries and lapses in diction were insignificant against sustained narrative urgency.
This subsides in Part II of the oratorio, when Elijah is sent into the wilderness, and here some fine solos did
much to maintain momentum. Bass David Palmer, accompanied by a searingly poignant cello, revealed a heat and
passion stifled elsewhere by his reluctance to look up from his copy, and the episode was defined by Gaynor
Keeble’s stunning mezzo, first as a vehement Jezebel and after as a soothing, authoritative angel.
Other soloists, including valiant treble Alexander Hurst, were consistently strong, and the orchestra provided
sensitive accompaniment notwithstanding some imprecision during recitative, but the chorus remained the true
hero, at its fiery best singing of Elijah’s removal to heaven."
Purcell My Heart is Inditing.
An enlightening experience."As rays of glorious sunshine illuminated the exterior of St Alban's Church on, Saturday, a
similarly enlightening experience was happening on the inside with the Birmingham Choral Union presenting
an inspiring programme of early music.
Despite foregoing the fair weather outside, the performers managed to maintain a cheerful and enthusiastic
focus throughout the evening. Some members even avoided obvious disappointment in missing England play
Germany at football.
Highlighting the concert was a beautifully authentic rendition: of Telemann's Suite for recorder and strings.
Here, Alan Davies made his wonderful woodwind instrument sound as sweet as birdsong. Furthermore, his faultless
technique and effortless demonstration of contrasting dynamics made him a marvel to behold.
Fine solo vocal performances were evident too, notably in Handel’s Dixit Dominus.
Sopranos Janet Vine and Katy Dent were very pleasing, Rosemary Rowley was nicely articulate and the currently
youthful voices of Neill Bramble and Alistair Gummow both showed great potential.
Director Colin Baines used his resources to maximum effect. With a full-bodied chorus and, for the most part,
reliable chamber orchestra under his guidance, he proved that this ensemble was perfectly suited to large Baroque settings.
. . . ."
Other Comments.
On Britten's The Company of Heaven . . .
"Colin Baines is to be congratulated on a stimulating and well-received programme."
On Finzi'sIntimations of Immortality . . .
". . . the Choir's clear articulation and coherence . . . (and) Colin Baines's unstinting energy . . . (made) . . . an ultimately satisfying experience."
On Mozart's Mass in C Minor . . .
". . . The Choir sings with a full, warm tone and can sustain the lines of intricate double-fugues with vigour and stamina."