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Canberra Today 14°/16° | Friday, March 29, 2024 | Digital Edition | Crossword & Sudoku

Review / Concert 7 CIMF: sublime singing and playing

WHAT a wonderful concert of beautiful music!  

Petite Messe Solennelle. Photo Peter Hislop
Petite Messe Solennelle. Photo Peter Hislop

A capacity audience at the Fitters’ Workshop enjoyed sublime singing and playing as 12 outstanding singers comprising The Song Company and Friends combined with piano and harmonium to present the original version of Rossini’s 1863 Mass – Petite Messe Solennelle.   From the opening Kyrie to the dramatic Agnus Dei finale the balance of voices was perfect with excellent phrasing, tight breath control and masterful dynamic contrast. Rossini instructed that 12 (4 soloists and 8 chorus) was the ideal number of singers required and that the soloists should also sing the chorus parts when not otherwise involved. An unusual specification but so well warranted with this combination of outstanding voices which blended so beautifully throughout.

The music itself was at times triumphant and strong then melodic and pretty then again hauntingly lyrical and calm.   Conductor Roland Peelman set perfect strict, driving tempos which created an energetic excitement which was perhaps not expected in a work of solemnity but which proved entirely appropriate.   By contrast, his flowing style and controlled use of rubato drew obvious passion from every voice in the ensemble during gentle passages.

It would be unfair to isolate individual singers as all were superb in either solo capacity or in ensemble contribution but mention must be made of Neal Peres Da Costa who played (as I understand) a specially imported 1869 Erard Grand Piano from Paris.   His playing was sparkling and bright and his interpretation of the rhythmic demands was outstanding.   He provided a perfect platform for the vocalists and had the opportunity to present solo work which was delicate and moving in the extreme.   He was ably supported by the subtle sounds of the Packard Harmonium played with great understanding by Aaron Chew.

I was so taken by the power of this music that I pondered what it would be like if written for full orchestra together with massive chorus and fanfare trumpets!!   I discovered later that Rossini did in fact write a full orchestra/chorus version some years after the original airing but that it apparently added little to the stature of the work.   I’m content in that knowledge, the original version is quite fantastic!

The audience responded to the performance with a sustained standing ovation and loud applause.   Such reaction was well deserved.   The Song Company and some of the soloists ( Taryn Fiebig, Tobias Cole and David Greco) will appear in various other concerts during the Festival, they should not be missed.

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Thank you,

Ian Meikle, editor

Helen Musa

Helen Musa

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