St. Christopher Singers
Pacific Baroque Orchestra
Marc Destrubé, leader
Alix Goolden Performance Hall
February 7, 2009
By James Young
"Handel and the Duke of Chandos" was the theme of this second concert in the Pacific Baroque Festival. I have to say that some of the music's connection to the Duke, for whom Handel briefly worked, was rather insubstantial. The Coronation Anthem on the programme was written ten years after Handel left the Duke's employ. But that's nothing compared to Avison's Concerto Grosso No. 12. It is an arrangement of harpsichord sonatas by Domenico Scarlatti, Now Scarlatti's uncle Francesco was recommended for a job with Chandos, but seems not to have taken it. That is what I call a tenuous connection. Still, however little connected to Chandos, this was an evening of upbeat performances of wonderful music.
The programme began with another of Handel's Op. 6 Concerti Grossi, this time No. 1. For whatever reason, the Orchestra seemed more alert than it did on Friday (not that it was badly lethargic then). A bassoon had been added to the orchestra, but that can't account for the difference, though the extra woodwind made a nice addition to the texture. The second movement (Allegro e forte) was certainly more vigorous than anything we heard the previous night and the other quick movements set my foot tapping (discreetly, of course, so as not to disturb my neighbours).
I have to say, however, that no one had taken to heart my earlier pronouncements on the subject of harpsichord lids. So much for the power of the press.
Next up was a couple of overtures. First was the Symphony in F from Johann Christian Pepusch's masque, Venus and Adonis. It was followed by the Overture to Handel's Acis and Galatea. Pepusch's masque could well have been the model Handel followed in his more famous sereneta. Pepusch's composition is certainly a pleasingly joyful work, but I have to say it is less imaginative than Handel's piece. The comparison is unfair: the overture to Acis and Galatea is surely one of the most delightful things Handel ever penned. Still, the Pepusch was well worth hearing and it was given an uplifting and committed performance by the orchestra, a performance enhanced by the fine oboe playing of Sand Dalton and Darlene Franz.
As for the selection from Acis and Galatea, it made my heart sing, as does any good performance of the piece. I really wanted to hear, "Oh, the pleasures of the plains" and the rest of the sereneta next, but instead it was on to the Coronation Anthem, "Let thy Hand be Strengthened." And on filed the St. Christopher Singers and the Victoria Children's Choir.
They promptly turned in a fine performance, with clear counterpoint and careful attention to musical detail. If anything, the children sang even better than they did last year in Vivaldi's Gloria. (review here) I have no idea how it is possible to make children sing so well if the Kapellmeister is not allowed to flog them. The performance was rewarded with enthusiastic applause, and not just from all of the parents in the audience.
The second half of the programme began with Avison's Concerto Grosso. As in any concerto grosso, the musicians are divided into the concertino (in this case two violins and cello) and the ripieno. In this piece, violin parts in the concertino often begin with a whimsical little figure, almost like a miniature cadenza. Destrubé excels in performing these passages, making them sound spontaneous and free. Paul Luchkow (violin) and Nathan Whittaker (cello), the other members of the concertino also did a nice job. Overall, the Avison was, like the Handel concerto with which the programme began, given a spirited performance.
Then the choirs filed back on for the Chandos Anthem 11a, "Let God Arise." It was quite moving to see the attentive and poised young faces waiting through the overture for their cue. Then they were off, tossing around musical phrases like a good power play moves the puck around. It was really quite exciting.
Two young singers took the solo parts. Isaiah Bell, a student at the University of Victoria, certainly has a fine instrument and imparted drama into "Like as the smoke vanisheth." He apparently has little familiarity with the baroque style of singing (he used way too much vibrato), but his diction was still clear enough for listeners to follow the words comfortably. Bell is a young man with a great deal of promise.
Monica Orso was much more comfortable singing baroque music, which is not surprising since she is a student of Nancy Argenta and Ingrit Attrot at the Victoria Conservatory. (Argenta is, of course, one of the most distinguished baroque sopranos of recent years and Attrot is no slouch either when it comes to music of the period.) Smile, Orso had undoubtedly been told, and smile she did. And result was a fresh and joyful performance. Her diction was excellent as she confidently suited the music to the words. This was a delightful outing for the young soprano.
One could quibble with this performance. Occasionally the St. Christopher singers were fractionally ragged. They are not The Sixteen or the Monteverdi Choir, after all. "O sing unto God" was perhaps a little flaccid. But overall, this was a strong performance and we are very lucky to be able to hear a live performance of this music in Victoria. When the performance received a standing ovation, this was not merely because the audience could no longer stand the pews in Alix Goolden Hall. Marc Destrubé and Madeleine Humer, director of the VCC, were saluted with big cheers when they appeared on stage.
Many thanks are owed to Brian Groos for all of his hard work in organizing this festival. It really is a wonderful annual event. I am already looking forward to next year's festival, which will be devoted to the music of J.S. Bach.
MiV
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