St Paul’s College Chapel Choir | Purcell: The Fairy Queen
Sunday Aug 27, 2023 | St Paul’s College, Camperdown
Conductor: Jack Stephens
Soloists: Brianna Louwen, Andrew O’Connor, Michael Burden, Ariana Ricci, Molly Ryan, Tom Hallworth, William Varga, and more.
The delightful acoustics and atmosphere of the Gothic architecture of St Paul’s College Blacket Hall at Sydney University was a perfect venue for The Fairy Queen. Shakespeare’s A Midsummer Night’s Dream, upon which the opera is based, is chaotic enough, but Purcell’s work has very little plot and is more like a loosely connected musical pastiche. That is not to diminish the work; from a musical point of view it is pure magic; every piece delights.
There were no sets and the singers simply used in the space in front of the choir and orchestra. They had Camerata-style faces painted white with bright red lips and cheeks; dressed all in black with white Tudor ruffs. Superimposed on this were flamboyant, quick-change costume touches and head-pieces to reflect the many and varied characters. The designer was not mentioned in the program, but they deserve special commendation for the joyful array.
Except for of the bass Andrew O’Connor and soprano Brianna Louwen, all the other soloists were drawn from the choir. And what a choir this is; filled with talented young singers and soloists in their own right. The vibrant luminescence of Ariana Ricci’s, and the silky warmth of Molly Ryan’s soprano voices were thrilling. Then there were the steely countertenor voice of Michael Burden and the refined tenor of Tom Hallworth. O’Connor sang his warm rich bass with humour and Louwen her sophisticated soprano with musical grace.
Apart from some sinfonias and a few full-length arias, many of the numbers are very short, often with a single voice singing first with the chorus echoing in 4 part harmony. The four season pieces at the end of Act IV were outstanding reveries of this kind. It makes for a snappy pace leaving no chance for the mind to wander. A constant sense of fun pervaded the whole performance.
Jack Stephens, the Musical Director of St Paul’s, conducted the choir and orchestra calmly and unobtrusively. One barely noticed he was there, but the music was always tight and well-rehearsed, clearly due to his impressive musical leadership.
The 12-piece period instruments orchestra of strings, continuo, recorders, natural trumpets and cornetto delighted in the music as much as the singers did. It was thrilling to hear the twin trumpets. One of the most beautiful works was the soprano Act V full-length aria known as “The Plaint”; Molly Ryan’s yearning mezzo voice was echoed by the delicate and superb cornetto playing of Matthew Manchester. Exquisite.
Whatever the limitations of the staging and production, the commitment, sense of fun and musical skill of the ensemble carried this performance off charmingly. And Purcell’s music would easily sustain just a concert performance, so all this added unexpected bonus delight.
What a privilege it was to experience this wondrous performance of Purcell’s magical music.
