Our reviews

5th November 2011
Bach B MINOR MASS
THREE SPIRES SINGERS
Bach B MINOR MASS
Truro Cathedral, Saturday 5th November 2011-11-07
Review by Judith Whitehouse

Any concert taking place on 5th November inevitably inspires fireworks imagery – Bach’s Mass in B minor is a two-hour sonic starshell, producing wave after wave of pyrotechnic polyphony. The Three Spires Singers were taking on one of the greatest works ever written, and conductor Christopher Gray didn’t just light the fuse and stand back – the whole performance was the outcome of meticulous preparation, including a seminar in September exploring theological as well as performance aspects.

From the start there was excellent attack and articulation in the chromatic Kyrie, with the authentic ‘Bach bounce’ and the imaginative contrast of the Cathedral Choir’s head choristers (Elliot Edmondson, Archie Hooper, Piran Venton and Jamie Webster) sharing the Christe eleison duet. The Gloria was just, well, glorious with shining brass and whoops of joy. One of the sternest tests comes in a 15-minute almost continual choral passage from the intensity of Confiteor via the majesty of the Sanctus to the buoyant Osanna, a journey full of contrasting pace, moods and colour; the Three Spires Singers rose splendidly to the challenge with commendably sustained commitment.

Of the solo singers, soprano Susanna Hurrell sounded fresh and confident, her dialogue with orchestra leader Malcolm Latchem in Laudamus te a particular delight. Harriet Jones in the duet Domine Deus with our much-loved David Webb, had grace and elegance, complementing the delightful flute obbligato, with more gentle flute and continuo accompanying David in his reflective Benedictus. Bass Johnny Herford was inevitably slightly upstaged in Quoniam by the virtuoso solo horn of Jacqueline Hershaw but sang expressively in his later aria. Countertenor Christopher Lowrey was simply breathtaking, glowing tones flowing like honey, culminating in a deeply moving Agnus Dei. And one of the perpetual stars in our firmament, Paul Comeau, provided not only exemplary organ continuo, but also his indispensable programme notes.

Chris Gray’s direction, moulding the choral articulation to fit the Cathedral’s acoustic, choosing generally brisk speeds and realistic dynamics, ensured a blend of momentum and contrast, while retaining the overall devotional atmosphere. The chorus gave their all – the sheer thrill of the high trumpets wheeling above the chorus at the end of Dona nobis pacem made a splendid climate, producing a prolonged ovation from the huge audience. Performances of great music with such energy and commitment have become the byword for Three Spires – it is a privilege to have been reviewing them over the last ten of their thirty years, with even more exciting times to come!
Truro Cathedral - 20th March 2010
Judith Whitehouse
Monteverdi's Vespers of 1610 will undoubtedly receive more performances this year than any before - the international scope of the 400th anniversary celebrations confirm not only the greatness of the work but also the extent to which 'early music' and authentic instruments have become mainstream over the last 40 years. The professional standard of this Three Spires performance was exemplified by Petroc Trelawny's splendid introduction, Paul Comeau's erudite programme notes and a recent workshop on the Vespers to brief the singers on every aspect of the work, from historical content to vocal technique.

The arresting opening - solo bass Reuben Thomas chanting from the West Gallery, answered by a blazing astringent toccata from choir and orchestra - set the scene for the evening. Conductor Christopher Gray had taken the trouble to maximise the spatial and acoustic potential of the Cathedral and achieve contrasts between the mainly choral psalms and virtuoso motets for the soloists. Nigra sum, with tenor Ben Alden demonstrating Monteverdi's use of florid almost operatic style, sopranos Natalie Clifton-Griffith and Sophie Bevan blending beautifully in Pulchra es at the west end, and the sound of three tenors, Ben Alden, Nicholas Hawker and Kieran White interweaving melodies in vocal and spatial evocation of the Trinity were highlights of the first half.

The psalm settings produced some glorious sound from the choir, in two groups for maximum antiphonal effect; Christopher Gray's keen attention to articulation and rhythm ensured constant delight and Truro Cathedral's choristers made a magical sound intoning plainsong against virtuoso instrumental ritornelli - the cornetti, most fiendish to play, produced their penetrating sound flawlessly, the players equally versatile on recorders later, though generally the noted baroque band Charivari Agreable were outshone by the exceptional quality of solo and choral voices.

In the concluding Magnificat, an inspiring extended setting, the solo soprano, and basses Darren Jeffery and Reuben Thomas, made the most of their virtuoso passages and the ethereal echo effects of the Gloria with Nicholas Hawker singing from the gallery, did full justice to one of the great moments in music. All credit to Christopher Gray for his thorough presentation and inspired direction, to a wonderful team of soloists and to the three Spires Singers for their total commitment to such taxing music - the final moments of glorious sound resonating round the Cathedral (matching the golden glow from the many ikons currently on exhibition) were truly moving and produced a huge ovation from the large audience - a magnificent and magical evening.