CIMF, Concert 19: “Choral Opposites”. At Fitters’ Workshop, May 7. Reviewed by LEN POWER.

FINE local voices assembled for a choral concert of tradition-inspired Nordic works with unique contemporary Australian compositions about the land and its peoples.

They provided a welcome sense of warmth and coming together for the wintry Canberra evening.

Ancient folk rituals and centuries of Lutheran hymns were the inspiration for many of the contemporary Nordic works from countries such as Sweden, Estonia, Latvia, Iceland and Norway.

Australia was represented by the works of Ross Edwards, Gordon Hamilton, Brenda Gifford and Sarah Hopkins. 

There was also a new work that linked north and south by Ella Macens, representing genuine Latvian traditions in Australia.

Three local choirs – Oriana Chorale, Kompactus Youth Choir and Luminescence Chamber Singers – performed separately and together. There was also Matthew Doyle on didgeridoo and Sally Walker on flute. On occasion, recorded sounds and percussive instruments added to the atmosphere of the works in the well-planned and performed program.

The Oriana Chorale, directed by Dan Walker, started the concert with a work by Sweden’s Karin Rehnqvist called “In Heaven’s Hall”. Conducted by Roland Peelman from the centre of the auditorium, sopranos strategically placed around the hall gave voice to Rehnqvist’s signature motif of “Kulning”, a vocal technique depicting the ancient call of Nordic herding girls driving their flocks. It was a startling and atmosphere-establishing beginning.

The other highlight by the Oriana Chorale in this massive program of works was the Australian composition by Ross Edwards called “Waabin” with its text of Whadjuk Noongar words. This joyous work was sung superbly by the women in the choir accompanied by Sally Walker on flute.

The highlights of the works presented by Kompactus Youth Choir, directed by Olivia Swift, included the exquisite and delicate “Stars” by Latvia’s Eriks Ešenvalds, with his trademark sound of tuned wine glasses, and Gordon Hamilton’s “Antarctica”. This challenging work was accompanied by recorded directional sounds, creating an extraordinary sense of the landscape and its atmosphere.

Luminescence Chamber Singers, directed by AJ America, showcased a sublime “Hear Us In Heaven” by Iceland’s Anna Þorvaldsdóttir and premiered a new work with a fine sense of tradition, “Yangga – Sing” by Yuin artist, Brenda Gifford. Their singing of works by Eva Lestander of Sweden and Tone Krohn of Norway also showed what fine artists they are.

Matthew Doyle gave outstanding didgeridoo performances and, from the centre of the auditorium, Sally Walker on flute played a delightful “Ulpirra” by Ross Edwards, finishing with an infectious shout of joy.

All the choirs combined for the new work by Latvian-Australian Ella Macens, “While Winter Is Here”. The music contained lovely melodies and the text was particularly evocative. One of the final works presented was “Past Life Melodies”, with its sense of nostalgia and longing, by Australia’s Sarah Hopkins.

This concert was remarkable for the number, range and challenge of the works presented and the fine singing by everyone involved. It was an evening to remember.