Saturday 10th November 2018 (Past Concerts)
Benjamin Britten: War Requiem at De Montfort Hall, Leicester
With Bardi Symphony Orchestra
Conductor: Claus Efland
With Leicester Philharmonic Choir
Leicester Bach Choir
Leicestershire Chorale
Leicester Cathedral Choristers
Ilona Domnich Soprano
Mark Milhofer Tenor
Malachy Frame Baritone
Leicester Concert Goer Diary had this to say about this concert;
The local choirs rose to the challenges splendidly. Unsurprisingly in such a huge work not everything was ideal. The problem of the positioning off stage of the choristers was not entirely solved. They were ethereal to the point of disappearance if one was seated stage right whereas I was assured by one person they were splendid for those sitting stage left. In the main choirs there could at times have been rather more projection in some of the intense quiet moments of the score. The start to the Libera Me was one such moment but here and elsewhere, as in the Dies Irae, waves of full throated sound eventually drove everything before it to magnificent effect. Overall, though, what was so moving was the obvious commitment of every member of each choir to strain themselves to the very utmost of their capacity and therefore time and again the essence of the work was communicated . That in itself made for an especially moving occasion.
…
The local choirs rose to the challenges of this monumental work with remarkable determination and skill, delivering a performance that captured the depth and grandeur of the piece. However, as is often the case with such a vast and complex composition, there were certain logistical challenges that impacted the overall experience. One of the main issues stemmed from the positioning of the off-stage choristers. While the intent was clearly to create an ethereal, distant sound, this effect was not equally successful for all members of the audience. From where I was seated on the stage-right side, their voices seemed to almost vanish at times, rendering them barely audible. In contrast, I was told by someone seated on stage-left that the choristers came through splendidly in their position, so it seems the problem was one of uneven sound distribution across the venue.
Despite this, the choirs’ dedication was undeniable, and they rose to the occasion in some of the most intense and dramatic sections of the work. In quieter, more delicate moments of the score, such as the beginning of the *Libera Me*, there were times when the projection could have been stronger. However, these minor imperfections were overshadowed by the immense power and richness that followed. For example, in the *Dies Irae*, the choirs unleashed waves of full-throated sound, filling the hall and driving the music forward with magnificent force and clarity.
Overall, what stood out was the clear commitment of every choir member, who pushed themselves to their absolute limits to communicate the emotional and spiritual essence of the work. Their collective effort and passion were palpable, and this, more than anything, made for an incredibly moving and memorable performance. The evening was not just a technical display of musicality, but an emotional journey that resonated deeply with everyone present.