Good programming, outstanding singing – Luminescence Chamber Singers

Luminescence Chamber Singers and Roland Peelman AM | Old Airs

1 November 2024, Drill Hall Gallery, Canberra

The mood was set for tonight’s concert in the Drill Hall Gallery (ANU) a wonderful backdrop of paintings by Euan Macleod featuring dramatic vistas from the Haupapa Tasman Glacier in New Zealand. Macleod was fascinated with the danger and drama of mountain climbing and the inherent human need to be near other humans. Humans have been singing and telling stories for and to each for many millennia, and Old Airs is a program of music about time itself; the way things change, and the way things remain. The six singers of the Luminescence Chamber Singers, conducted by Roland Peelman AM, began with the oldest recorded song with the text alongside the musical notation, the Seikilos Epitaph (1/2C AD). Roland informed us that no one knows how it originally sounded, but it sounded amazing and strangely familiar. The lines of ‘As long as you’re alive, shine, don’t be sad at all’ were a pertinent way to end a long week and start a concert.

Det Lisle Bånet, a Norwegian medieval ballad about a cunning fox, showed off the excellent audience engagement and communication among the singers, with a rousing solo by tenor Dan Walker underpinned by Roland’s energetic drumming. Next a traditional Georgian folksong Tsintskaro, famous for its appearance in Herzog’s Nosferatu The Vampyre (apt for All Hollow’s Day) with the singers in surround sound around the gallery and bass-baritone Alasdair Stretch convincingly taking the lead.

What happens next is a prime example of artistic director AJ America’s exceptional skill in programming. Not only is there a little something for everyone – the old and the new – but the transitions throughout this concert were considered and pleasing. Moving from Georgian folksong to the most ethereal work for the three ladies of Luminescence with David Lang’s version of creation Evening, Morning, Day, with only the nouns and no particular religion’s bent, was heavenly, with precise phrasing, blend and intonation. Moving effortlessly into Nardi Simpson’s Yarrager Mayraa (arr. Walker) was exuberantly joyous, with the singers filling the gallery with great ensemble.

Next a bracket of medieval tunes ranging from the familiar and energetically sung Westron Wynde, to Dufay’s Flos Florum featuring mezzo soprano AJ’s very virtuosic florid solo and into Jacobus Gallus’ Three Moralia, with a very amusing and entertaining set of three tunes about love, stupidity and grief showed off the ensemble’s excellent character singing and audience engagement, once again. I am fan of the Codex Buranus, after playing with the Renaissance Players and enjoying music of this era, so it was a delight to hear Celum non Animum sung with skill and strength.

Swiftly moving back to the present century and two works with poetry by Dorothy Parker and Les Murray, set to music by Alex Raupach (Things Change) and Frank Nuyts (Old Airs), showing off the ensemble’s talents for vocal gymnastics, the latter being quite the centrepiece for the program. Swoon incoming with solos from soprano Rachel Mink and Walker in the most famous of tonight’s program, Joseph Kosma’s Les Feuilles Mortes (Autumn Leaves) arranged by Peelman. I think we all felt the pangs of love after that rousing performance. A brief return to medieval France with another gem from Codex Buranus – Fas et Nefas Ambulant – with quite the scintillating sleigh bells solo from Walker and energetic drumming from Peelman. Walker’s arrangement of All is Well, a traditional American tune proved all is well with this exceptional ensemble and a near religious fervour in their joyous blending of sound. Walker’s arrangement of The Seed, by Norwegian singer-songwriter Aurora, finished tonight’s concert with a thought-provoking climate-basis climax, returning to our 2000-year-old opening Epitaph to round at an exceptionally well received performance.

Good programming, well prepared and outstanding singing, audience connection (particularly post-concert) and an interesting venue (with bonus beautiful art) make for a wonderful night out. More please!