The Leicester Bach Choir, under the direction of Richard Laing, has become a remarkable ensemble, as showcased in their June 12, 2010 performance. The choir has developed a distinctive musical identity under Laing’s leadership, with a dynamic blend of purpose and spontaneity that keeps audiences engaged. As Neil Crutchley noted in his review for the Leicester Mercury, the choir’s performances are not about achieving sterile perfection but rather about delivering music that is full of life, energy, and emotional depth.
The evening’s program was an eclectic mix of 20th-century choral works, starting with Gerald Finzi’s God is gone up. Known for his more introverted compositions, Finzi’s extrovert anthem was a bold and arresting opener. The choir embraced the piece’s celebratory tone with vigor, setting the stage for an evening of compelling music. Later in the concert, the audience was treated to two of Finzi’s more characteristic pieces, My lovely one and Welcome sweet and sacred feast. These were delivered with exquisite phrasing and an instinctive sense of pace, capturing the deep affection embedded in Finzi’s writing.
A standout moment of contrast came with Gorecki’s Totus Tuus, a piece known for its hypnotic and sensual qualities. The choir’s performance was hauntingly beautiful, drawing the audience into a meditative state. This calm was effectively juxtaposed with Benjamin Britten’s Rejoice in the Lamb, a masterful cantata that requires both technical precision and emotional range. The Leicester Bach Choir excelled in this piece, bringing a sense of urgency and restlessness that reflected the varied moods of the text. The young soloists were outstanding, and organist Mark Batten’s brilliant playing added another layer of excellence to the performance.
The concert also included a beautifully sensitive rendition of Ivor Gurney’s Sleep, performed by bass soloist Angus McPhee, with Mark Batten once again offering exceptional accompaniment on piano. McPhee’s rich voice and Batten’s delicate touch provided a poignant interlude between more vigorous pieces. This was followed by the lush harmonies of César Cui’s Magnificat and Samuel Barber’s Agnus Dei (Adagio). Both works are known for their radiant, sweeping harmonies, and the choir’s interpretation was equally rich and moving.
The evening concluded with Matyas Seiber’s Yugoslav Folk Songs, a collection of lively and entertaining pieces that showcased the choir’s versatility and virtuosity. These songs, full of rhythmic complexity and engaging melodies, were performed with a joyful energy that left the audience uplifted and appreciative of the choir’s talent.
Throughout the concert, Richard Laing’s direction was both inspiring and precise, guiding the choir through an exciting and varied program. Crutchley’s review captures the essence of the evening perfectly: while the Leicester Bach Choir may not seek flawless perfection, it delivers something far more valuable – compelling, spirited music that connects deeply with its audience. This performance was a testament to the choir’s growth under Laing’s leadership and their ability to bring both passion and precision to every piece they perform.