Music / “Chansons Francaises”, Oriana Chorale. At Chapel of the Annunciation, Canberra Girls Grammar School, March 31. Reviewed by ROB KENNEDY.

CELEBRATING a millennium of French songs, Oriana Chorale performed an exploration of chansons about love, birds, mythical creatures, work songs, and drinking and dancing songs that rejoice in the art of living.

Music director Dan Walker conducted an exceptional program of French songs that, well, covered almost every subject. The concert began with the mysterious “A Chantar” by the 12th-century female troubadour, Beatriz de Dia. The 26 singers created an ethereal sound in this moving and profound work that predated polyphony.

Moving on to the Renaissance period for “Le chant des oyseaux”, by Clément Janequin. With multiple lines of music sung at the same time, the texture thickened. Reflecting bird calls in parts, these bouncy rhythms sounded complex and uniform at the same time. Fascinating.

Another bouncy piece followed with Pierre Passereau’s “Il set bel et bon”.

Walker conducts with great accuracy and nuance. No singer is left in doubt by what he means. Being a tenor, he sings along and watches the score and singers intently.

Arranged by Walker, the traditional song, “La Fille au Rois Louis”, came next. A gorgeous arrangement of this profoundly beautiful music sat softly in the ear. Jean-Philippe Rameau’s “Hymne à la Nuit”, mirrored the traditional piece in ways, and was equally glorious.

We then moved into the 20^th century with Debussy, his “Trios chansons de Charles d’Orléans”. This swelling and lilting music reflected his orchestral works. Full of new harmonies Debussy invented, the music blended in a highly stylistic construction. The chorale sang particularly well as it took great concentration, balance, and unity, and it had all that.

Three songs by Ravel followed. His “Trios Chansons” is quirky but also thick with deep textures, floating lines, and unique solo parts across the chorale, this is a composition of the highest order, and it was appropriately sung.

Poulenc’s set of works, “Huit Chansons françaises” followed. With multiple melodic lines in a rustic, folk-like setting, this earthy music, with lyrics to match in fascinating rhythmic constructions, had it all. Contrasting highly coloured songs of all eight pieces made for a captivating performance.

To finish this concert of fine French music that crossed a thousand years, who else but Edith Piaf and her “Hymn to Love”. Dripping with a sentimental but heartfelt love, this hymn fittingly so perfect to the French language capped off an inspiring concert.

How lucky Canberra is to have such a fine local choir in Oriana Chorale. The range of voices blend exceptionally well. And to be led by a conductor, composer, arranger and singer of world-class stature, we are blessed.