Concerts are regularly reviewed in the Bournemouth Echo, New Milton Advertiser and Lymington Times
Reviews from the Bournemouth Echo, The Lymington Times & New
Milton Advertiser.
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July 2012 Concert - Music
for Royal Occasions by Parry, Stanford, Howells, Elgar and Handel
To celebrate the Queen's
Diamond Jubilee this concert proved a stirring display of British
choral works under the choir's Musical Director Marcio da Silva.
In Stanford's Te Deum . .
. the choir made a fairly impressive opening accompanied on the
Priory's organ by Hugh Morris, as they were for most of this
concert.
. . . Herbert Howells'
used the same text in his Te Deum . . . it is in another league . .
. most imposing and sung, brilliantly, at the brighter tempo.
Elgar's psalm setting Great is the Lord is absolutely magnificent and sung here with
heaven-storming power and a good bass solo from Jerry Laker.
. . . Shostakovich's Piano Concerto No 2 - a beautiful piece . . . a deserved reward
for Jo Corbin's highly regarded work as rehearsal pianist . . .
Parry's treasure-chest of
choral music includes Songs of Farewell; three pieces
highlighting the Grange Choir's superb abilities for a cappella
singing, especially those antiphonal effects in their divided
layout.
Three Motets, op.38 by Stanford, Handel's Zadok the Priest plus our own
contributions - Jerusalem and The National Anthem - were the icing on this Diamond Jubilee cake. Mike Marsh (edited)
April 2012 Concert - Mozart's Mass in C minor and Bruckner's Te Deum
Not so much a Review but more a Preview of the
Society's future under the direction of Marcio da Silva.
. . . the first under their new
Musical Director Marcio da Silva. . . . although still under 30 (he)
has already distinguished himself as an orchestral and operatic
conductor in various European countries. This background clearly
shaped his approach to the two works in Saturday's concert.
. . . His stated intention is to
"improve the voice production of the choir" - the fulfilment of this
was clearly audible in all the parts. This is to be warmly welcomed.
The full benefits were most dramatically noticeable in Bruckner's Te Deum. . . . With large stretches marked fortissimo (or
more!) this is an extraordinarily powerful piece, with colourful
orchestration and a substantial organ part. The final pages were
overwhelming in their intensity.
There is every reason to be
optimistic about the choir's future under their new Musical
Director. His experience, enthusiasm and declared emphasis on better
vocal projection can only be beneficial. We can look forward to
experiencing more of this at the next concert on 14th July when
substantial pieces by Parry will be supplemented by some of the best
loved items from cathedral service repertoire. Derek Baldwin (edited)
. . . wonderful job at Mendelssohn
marathon
. . . after the Grange Choral
Society's sell-out Mendelssohn mini-marathon, my own appreciation of
his choral writing was satisfyingly re-enforced.
The major portion of this concert
was devoted to the seventy-minute Symphony No2, 'Hymn of Praise',
under the interim direction of Hugh Morris . . . highly regarded
conductor . . .
From the powerful opening of this
movement the unhurried pace wound through the following Andante and
Minuet to create a soft-toned contrast to the mighty opening chorus,
entering with impressive choral weight and underpinned from the
Priory's organ (Chris Dowie).
All the succeeding episodes fully
conveyed Mendelssohn's vocal splendour.
Soloists in the symphony included
the superb, soaring clarity of soprano Abigail Hooper (shining also
in Lauda Sion), the fine soprano Madeleine Holmes and the smoothly
controlled voice of tenor Christopher Bowen.
They were joined by Richard Hooper,
bass, in a glowing account of Lauda Sion where all forces engaged
Mendelssohn's marvellous scoring.
. . . Priory treble chorister
Christopher Betts gave a highly accomplished account of Hear My
Prayer from which the euphonious Oh for the Wings of a Dove soared
in glorious harmony with the Grange singers. Mike Marsh (edited)
Superb Society's ambitious work
There is a venturesome spirit
within the Grange Choral Society; one that is prepared to try
something different, and in Saturday's inspired concert they
conveyed to stunning effect the glories of voice, brass percussion
and organ under Daniel Cook's baton.
Concluding with John Rutter's Gloria the entire ensemble plus the soaring soprano soloist
Katharine Hawnt ensured this powerful paean drew a performance to
match the ambitious scoring.
Parry's anthem I Was Glad,
accompanied by organ, had that extra edge with supporting brass
ensemble, the Grange singers revelling in the challenge.
Bruckner's motets are gems of
choral excellence and here the Grange performed six . . . some a
cappella and others with brass. If the highest degree of polish was
occasionally missing these were still distinguished accounts.
Organist Ian Wicks joined forces
with the brass ensemble in an arrangement of Gigout's only well
known work; the Grand Choeur Dialogue and quiet a spectacle
it was, also in solo he shook the Priory's foundations with Walton's
magnificent Crown Imperial
Elgar's Great is the Lord with bass soloist Richard Hooper and organ accompaniment was
impressive but surpassed by Parry's Hear My Words, Ye People with the panoply of brass, chorus and both soloists in stirring
form. A superb concert and hopefully something similar may follow.
Mike Marsh (edited)
Elgar's Dream of Gerontius - Grange Choral Society celebrates 50th anniversary
What better time than the 50th anniversary to pause and appreciate
the significant contribution it has made, and continues to make, to
the cultural life of the area.
In an age when British choral heritage - particularly in the
Christian context - is less-widely valued or supported than it once
was, the choir's broad repertoire and continuing membership of
around 150 voices, along with the high musical standards it
maintains together represent a major achievement. That should be
recognised, valued and celebrated.
(of the soloists) it was a significant fact that all three had sung
in the Grange's last performance of the work in 2006. They are all
performers of great presence and distinction.
Under the baton of Daniel Cook the choir responded well to the wide
variety of timbre and mood demanded by Elgar's music. In addition to
the full choir parts his score also often makes use of a semi-chorus
. . . That role was filled by the Salisbury-based Farrant Singers,
another of Daniel's choirs . . . Mention must also be made of the
Grange Orchestra augmented to almost 50 players . . . they stamped
their mark on the performance right from the start of the sombre
prelude.
This concert was a memorable occasion for the society to look back
and mark the achievements of the last 50 years. But, with the
magnificent venue of Christchurch Priory, and interesting programmes
already planned for the next two years . . . it also has every
reason to look forward confidently to the future. D.B. (edited
quote published in The New Milton Advertiser) |
