Music / “Faure and Rutter”, ANU Choral Society. At  Wesley Music Centre, May 15. Reviewed by IAN McLEAN

HOW lucky we are in Canberra to have the opportunity to enjoy such a diversity of musical offerings. 

As good fortune would have it, the ANU featured strongly on the agenda of this writer this weekend. Friday night was fun and laughs marvelling at the talent of the clever ANU medical students as they presented their annual revue, a wonderfully irreverent take on the implications of COVID-19.

Then the following night, complete contrast with glorious choral music of religious heritage.

The ANU Choral Society (SCUNA) is a non-auditioned choir made up primarily of ANU students, staff and alumni. Thanks to the aforementioned virus, this was the first concert presented by the choir in 2021 and a welcomed opportunity for members to celebrate the joy of singing together in front of a live audience rather than the screen of Zoom.

The concert opened with the John Rutter “Gloria”, composed in 1974. The powerful opening statement, “Glory be to God on high”, filled the Wesley Uniting Church with sound, the excellent soprano section leading superbly. 

Fine dynamic variation featured as did good breath control and neat, precise phrase endings. Solos by Kirsten Leung and Lauren Ashman were well sung but the highlight of the work was the soaring solo sung with crystal-clear clarity and wonderful projection by 1st soprano, Astor Lee. Her voice will surely be heard more and more in time to come. 

The “Gloria” ended most impressively with rich harmonic balance and tonal quality in the final “Amen”.

The major work was the Gabriel Faure “Requiem”, written around 1887, coincidentally at the time the Eiffel Tower was being constructed. The opening “Introit” was most appropriately dark and foreboding in its sad D-minor key before it blossomed with lovely balance in the “Kyrie”. A well pitched introduction from the alto voices led to a slightly hesitant baritone solo from Oliver Hervir in the “Offertoire” then the “Sanctus”, while well sung, lacked a little emotive conviction.

The “Pie Jesu”, featuring soprano Cindy Chen, was well controlled and wonderfully pitched but could have projected more and the “Agnus Dei” was led with great passion by the collective women’s voices. 

Lachlan Rankin impressed with his gentle baritone solo in the “Libera Me”, and the “In Paradism” finale again demonstrated warm sound, well controlled harmony and excellent balance in the softer sections. 

The choir is certainly blessed with wonderful female voices who sing with real joy and enthusiasm. The males are more reserved and contained, they could well sing with greater confidence and less restraint.

Conductor Matthew Stuckings deserves great credit for his preparation of the choir. He is expressive in his direction and his tight control resulted in the pleasing dynamic control and contrast that was produced. The choir was accompanied on piano and organ by the vastly experienced and uniquely talented Anthony Smith. As always his playing was delicate and subtle and perfectly supportive of the vocalists.

This was an enjoyable concert and a pleasing way to welcome back SCUNA to the live performance stage.