Classical Chromatics

16/12/2024

Bach’s Christmas Oratorio heralds in Christmas even more festively than the Messiah, you could say. And BACH MUSICA NZ's performance of Parts IV to VI of J S Bach’s Oratorio at the Auckland Town Hall on Sunday 1 December blazed with colour. Intended for performance in church during the Christmas season, each part or cantata of the piece tells a part of the Christmas story. For those of us who are not church-goers, the evening created the theatre and sacredness we seek at this time of year. Music Director Rita Paczian sprang onto the podium with such electric energy, drawing out lively engagement from the orchestra. The band was led with much life and lightness by concert master Miranda Hutton. Bach makes busy work for an orchestra notably Alison Dunlop’s lithe oboe and the vibrant trumpet of Orson Paine. The fabulous Bach Musica NZ Choir was in enthusiastic voice, particularly in Part V “Ehre sei dir, Gott” with clear vocal lines weaving a tapestry of joyous noise. Bach Musica NZ always selects an interesting line-up of vocal soloists. The Evangelist role was championed by tenor Henry Choo with an energetic rendering of the recitative and arias of dazzling vocal runs. Joanna Foote is always elegant with crystal high notes and she gave the text authentic emotive drama. Alto Jessica Wells’ voice had a beauty and warmth perfect for the evening. But the surprise package was bass Jonathan Eyers, returning from studies and awards in the UK to sing. What a voice and presence of quality, delivering the German with intelligence and a beauty of phrasing that was a real treat. Thank you Bach Musica NZ for stepping into December with passionate Christmas spirit.

10/10/2024

The APRA AMCOS NZ Silver Scroll Awards supported by Te Māngai Pāho / NZ On Air Music provide a vital platform and acknowledgement of the many Aotearoa artists and composers who achieve so much every year. Warm congratulations to the recipient of the 2024 SOUNZ Contemporary Award | Te Tohu Auaha - Nathaniel Otley for 'the convergence of oceans', for orchestra. Below is a performance of his award-winning piece.

NATHANIEL OTLEY: the convergence of oceansThe convergence of oceans is a finalist in this year’s SOUNZ Contemporary Award, reflecting the immense talent and ...

09/08/2024

Although I was unable to be there in person, here is the live stream of the Lexus Song Quest Final performed in Wellington on 3 August 2024. An opportunity to hear Aotearoa's up and coming classical and opera performers, here is the breakdown of the songs and performers for the evening. I hope you will enjoy watching some or all of these performances. First performer (forward video to 15'30") is the beautiful pure tone of counter-tenor Austin Haynes performing Reynaldo Hahn's Infidélité with Terrence Dennis at piano. At 21'04" is the lively expression of Tayla Alexander performing Jake Heggie's Animal Passion. At 27'47" the rich bass voice of Morgan Andrew King performs the debut of Te Ohaki a Turanga composed by Taitiwha King. Continue to 35'25" to hear mezzo soprano Katie Trigg's warm performance of Schumann's Mondnacht. To conclude the song section, at 41'10" Manase Latu's beautiful lyrical tenor performing Schubert's Der Neugieriger. To hear the opera arias, forward to 1'10" to hear Austin Haynes perform Handel's recit and aria O Mirror of our Fickle State with the New Zealand Symphony Orchestra conducted by Hamish McKeich. At 1'15" you can hear Tayla Alexander's vibrant performance of Rimsky Korsakov's Snow Maiden's Aria. Sarastro's Aria from Mozart's Magic Flute next at 1'19" sung with stately tone by Morgan Andrew King. Another offering from Handel, this time Hence Iris Away from Semele sung with great drama and a fabulous final high note by Katie Trigg at 1'23". The long phrases of Il Mio Tesoro from Mozart's Don Giovanni sung with sublime spin by Manase Latu at 1'30". More Handel for Austin Haynes' second aria from Rodelinda, sung in style at 1'36". Tayla Alexander (in a third gorrrrgeous gown) returns for her second aria with luminous beauty in Rusalka's Aria by Dvorak at 1'43". Morgan Andrew King returns as Silva in wonderful tone for his last aria from Verdi's Ernani at 1'52". Katie Trigg returns for a fantastic rendering of the Letter aria from Massenet's opera Werther at 1'59" securing her the winning place. To finish the evening, at 2'08" Manase Latu sings the tenor aria from Gounod's Faust with great tenderness. https://www.nzso.co.nz/plus/videos/lexus-song-quest-grand-final-gala-livestream?fbclid=IwY2xjawEieR9leHRuA2FlbQIxMQABHRrnjEvRnrjX3ZnWXqhEgkVdlv9FR3F6qjTzhKUmBHTDWYs-_9oFQpjGfA_aem_3W685fwZwtBhV2m3Sl_43A

Prepare for an unforgettable night as five Finalists sing it out to be crowned Aotearoa’s next opera star at the Grand Final Gala with the NZSO.

24/07/2024

Loved the spirit of the Mountain Top Chorale at the World Choir Games 2024 with their amazing multi-rhythms and passionate vocal tone not to mention the best choir outfits!

24/07/2024

Another excerpt from the excellent Delaware Choral Scholars at the World Choir Games 2024. The sublime unfolding chords of Thomas LaVoy's "White Stones" demonstrated this choir's smooth ensemble and superb pitching. Loved the energy of the double piano collaboration too.

24/07/2024

Northern Indian choir Nagaland Madrigal Singers performing an excerpt from "Alleluia" by Naga composer James Swu in the World Choir Games 2024. Bold repertoire and firm direction with a confident gold-winning sound!

20/07/2024

The dynamic Delaware Choral Scholars from the States performing in Choral Kaleidoscope, a concert as part of World Choir Games 2024 in Auckland's Town Hall.

20/07/2024

The amazing a capella group UngKlang from Denmark performing Ēriks Ešenvalds's Stars in Choral Kaleidoscope, a concert as part of World Choir Games 2024 in Auckland Town Hall.

20/07/2024

What an amazing week of music in Tamaki Makaurau with the World Choir Games 2024. I will post selections of some of the choirs from around the world. Starting with one of the Champions Competitions, here is Luminata Voices performing Te Atua, a waiata by Te Taepa Kameta.

11/06/2024

BACH MUSICA NZ - Sunday 9 June 2024 - Dvořák and Vaughan Williams. CONCERT REVIEW by Clare Martin - BACH MUSICA NZ presented Dvořák’s Mass in D major op. 86, Dvořák’s Romance in F minor, op. 11, Dvořák’s Slavonic Dance No 2, op. 72 and Vaughan Williams’ The Lark Ascending at Auckland Town Hall on Sunday 9 June 2024.

Dvořák and Vaughan Williams made an pleasurable pairing tonight in the Town Hall. Featuring three of Dvořák’s works, this was quite an immersion into the Czech composer’s Romantic style. The beloved Slavonic Dance opened the programme with it’s warm and playful folk-waltz rhythms. Conductor Rita Paczian drew charm and buoyancy from the excellent small orchestral ensemble in Dvořák’s Romance in F minor, next. Concertmaster Yanghe Yu stepped out from the orchestra to perform a solo line of much tenderness.

The common interest between tonight’s composers was the influence of folk music on their sound, one Moravian/Bohemian and the other English. With Vaughan Williams’ The Lark Ascending we were out in the spaciousness of the English countryside. With a single sustained chord from muted strings and woodwind, the solo violin enters with an almost improvised melody, representing the filigree ascent of the lark into the sky. The work is full of the folk tunes that Vaughan Williams loved to collect. Soloist Yu spun beautiful threads of sound, just a touch tentative to start before warming into the work. Legato woodwind, brass and melting string playing expressed the languor of a warm Summer’s day. Yu’s lark was delicate and beautiful, airborne on the waves of warmth Paczian drew from the ensemble.

With tonight’s smaller orchestral numbers, we didn’t have the big swells you might normally hear in these works. However, with a smaller hand-picked band we got to appreciate all the details and hear a real flexibility of tone. And, as always, the orchestra was right on the tip of Paczian’s deft baton.

The main work of the evening was Dvořák’s Mass in D major, heralding in the choir and four soloists. With their shining gold scarves and shining voices, the choir injected a palpable energy into the programme. Again, not large forces but these dynamic voices really projected the music. The “Gloria in Excelsis Deo” was truly glorious. The unaccompanied “Laudamus te, benedicimus te” really showcased the skills and blend of the choir.

This commitment and spirit wasn’t always as evident at the front of the stage with the soloists, but this Mass doesn’t give huge scope for that without arias or long duets or trios. However it was a real pleasure to hear Joel Amosa’s quality bass notes, and Emma McLean’s soprano showed real lyrical beauty. The trio “Et incarnatus est” for the soprano and bass and Kate Spence’s alto was sung with genuine feeling. Both Spence and Tenor Taylor Wallbank sang the anguish in the “Miserere” section. Also appreciated were the matched bottle green concert dress for soprano and alto!

The choir demonstrated much spirit (“Cum Sancto Spiritu”) and drama (“Crucifixus”!)and a rather dazzling fugal section in the “Et iterum venturus” section. Sometimes we could have used more tone from the altos in the “Credo in unum Deum” but we got plenty of personality from the tenors and basses. And an “Hosanna” crackling with energy from the whole choir. The final “Dona nobis pacem” was a true exposé of the choir’s talent. Even if Dvořák doesn’t make a major statement to close the work, Bach Musica concluded the evening with real focus, commitment and beauty.

The evening did represent the best of Bach Musica. The delicacy of tone from Yu’s solo violin and Paczian’s superbly flexible orchestral ensemble. The dynamic sound and engaging quality of the choir. This is really committed music-making and I urge you to seek them out for their Gala later this month on 29 June and their Mendelssohn programme on 15 September this year - https://bachmusica.com/2023/11/25/2024-concert-season/

Image - Thanks to Peter Jennings Photography