Leicester Mercury Review (reworded for blog length autumn 2024).
The Leicester Bach Choir’s performance on November 13, 2010, marked another impressive showcase of their musical talent under the leadership of conductor Richard Laing. After several concerts in the resonant acoustic space of St. James the Greater, the choir returned to the Leicester Cathedral, a venue with a much drier and less forgiving acoustic. Yet, even in this challenging environment, the choir demonstrated they were far from complacent, delivering a performance marked by balance, attack, and dynamic control. Laing’s authoritative and clear direction was at the core of this excellent evening.
The concert opened with Holst’s Psalm 86, an exquisite setting that reflects Holst’s more meditative and sparse style. The haunting quality of the psalm was brought to life with remarkable sensitivity. Laing’s direction allowed the choir to explore the delicate textures and dynamics of the piece, showcasing his instinctive understanding of the music’s emotional depth. The piece’s quiet power was a perfect way to set the tone for the evening.
Next, Debussy’s Danses Sacrée et Profane followed, where soloist Stephanie Beck’s harp playing was particularly striking. She brought a shimmering, ethereal quality to the music, which was further enhanced by the accomplished string players. The ensemble successfully captured the contrasting sacred and secular moods of Debussy’s work, balancing its fragility with a sense of elegance. Laing’s careful handling of the piece ensured that every detail, from dynamics to phrasing, was beautifully executed.
One of the evening’s highlights was Gerald Finzi’s In Terra Pax, a Christmas scene that Finzi magically evokes with his distinctive word-setting. The performance featured baritone Angus McPhee as the narrator, whose warm tones brought the text to life with clarity and emotion. Meanwhile, the young soprano, 16-year-old Hollie Burton, gave a promising performance as the Angel, showing considerable talent and a bright future in her voice.
The concert continued with Leonard Bernstein’s *Chichester Psalms, which offered a more modern, rhythmically complex challenge for the choir. Countertenor Tim Morgan gave a stunning solo in Psalm 23, displaying impressive diction, pitch accuracy, and pure tone. The choir’s performance of this piece, sung in Hebrew, was equally remarkable. They navigated Bernstein’s challenging rhythms and lush harmonies – reminiscent of West Side Story – with precision and flair, demonstrating their versatility in handling this demanding work.
Vaughan Williams’ Five Mystical Songs saw Angus McPhee return as soloist, delivering expressive and emotional phrasing of George Herbert’s words. The choir’s inspired singing was uplifting, despite the unusual accompaniment, which combined strings, organ, and piano. This unconventional arrangement, while curious, did not detract from the overall impact of the performance.
The concert concluded with John Rutter’s Psalmfest, a colourful and eclectic collection of psalm settings that demand focus and versatility from the performers. The constantly shifting rhythms and styles posed a considerable challenge, but the Leicester Bach Choir, well-prepared under Laing’s direction, handled the complex tempo and key changes with confidence. Their stylish, disciplined singing captured the mood of each psalm, and organist Mark Batten provided assured and imaginative accompaniment, further enhancing the performance.
This concert was a testament to the Leicester Bach Choir’s skill, dedication, and ability to tackle a diverse range of musical styles. Under Richard Laing’s inspired leadership, the choir once again proved why they are one of the region’s premier choral ensembles. Their ability to adapt to challenging acoustics and deliver a cohesive, dynamic performance is a credit to their hard work and musical artistry.