Sydney Chamber Choir | Fireside
June 29, 2024, 8pm, The Neilson ACO Pier 2/3, Walsh Bay NSW
Entering the Neilson Theatre for the Sydney Chamber Choir’s latest performance was like stepping into a cozy jazz club. The subdued lighting and salon-style seating created an intimate, buzzing atmosphere. Performers mingled with the audience, who were seated around small tables, sipping wine. A quick shift in expectations from the outset – this was not going to be your typical classical choir choral music concert; it promised something special… and duly delivered.
This concert marked the second program of its kind, following the overwhelming success of the the first in 2023. Naomi Crellin, (The Idea of North) who joined the choir as a singer post-COVID, co-collaborated with Artistic Director Sam Allchurch to create a refreshingly diverse program featuring some Nordi-Scandi inspired choral music mixed with modern choral classics and a couple of delightful ‘Swingle- style’ versions of Bach and Mozart, allowing the choir to explore a more playful and relaxed repertoire in a variety of voice part formations.
The concert began with René Clausen’s Tonight Eternity Alone. The piece beautifully explored themes of solitude and the divine, enveloping the audience in lush choral sonorities that set a contemplative mood through a wonderfully poetic text. Megan Cronin and Wei Jang’s sweet soprano solos from within the choir added an elegant touch. This was followed by Heather Percy’s Hymn to the Evening, a modern Australian composition commissioned for the Sydney Chamber Choir in 2021. Percy’s work captures the night sky’s spiritual quality through the poetry of past and contemporary female poets. Once again the soloists emerged from within the choir, showcasing the exceptional musicality of the voices that make up this ensemble.
As the evening progressed, the choir transitioned to Waldemar Åhlén’s Sommarpsalm (Summer Hymn), a simple and sweet hymn that brought our first touch of Scandinavian charm. The jazz trio then appeared for Naomi Crellin’s arrangement of the Lennon/Cartney classic Norwegian Wood. This jazzy, sexy, rendition, with its unique 5/4 time signature and additional Norwegian lyrics, (‘isn’t it fine, Norwegian Pine’!) was a clever surprise that showcased the choir’s versatility and afforded much audience appreciation.
One of the highlights of the evening was the choir’s performance of JS Bach’s Prelude No 9 in E from The Well-Tempered Clavier, Book II, arranged by Ward Swingle. Swingle’s arrangements call for voices to mimic saxophone, trumpet and trombone lines, through the use of scat singing and vocalese, this brings a playful energy to the piece which was performed with accuracy and charm. This was followed by an instrumental interlude from the very cool Kevin Hunt Trio with their improvisation on Bach, a nice touch that continued the theme and added to the lively cabaret feel of the concert.
Finnish composer Mia Makaroff’s pieces, Butterfly and Mitä kaikattat tivonen? (Why are you complaining, little stone?), were beautifully executed. Seemingly unconducted (I’m sure Crellin was giving various hand signals, but they were unseen from where I was sitting), the choir handled these difficult texts and demanding works with apparent ease (as an Australian born chorister myself I can vouch for how hard the Finnish language is to get one’s tongue around). These two songs reflected on the universal themes of fleeting moments and youthful confidence – simultaneously heartfelt and humorous – great programming here.
Edvard Grieg’s Ave maris stella written for his wife Nina, was transformed into a choral work in 1898. This more traditional work showcased the choir’s harmonious blend which brought real warmth to the winter night; as did Eriks Ešenvalds’ Only in Sleep. With its nostalgic lyrics and simple verse, this is a popular modern choral classic – sure to warm the cockles of every heart. The soprano soloists’ dreamy musings floated gracefully over the warm harmonics of the ensemble evoking a sense of reverie. This was followed by Þorkell Sigurbjörnsson’s Heyr himnur smiður (Hear, Heavenly Creator), an Icelandic hymn performed again by the whole choir, this time extended out in a single line of singers which enhanced the acoustic impact and allowed Kristen Butchatsky’s beautiful solo line to shine.
Ruth Moody’s One Voice, arranged by Carl Crossin for the Adelaide Chamber Choir Festival in 2023 where the choir first heard it, was a moving anthem about the power of music. Starting with one, two, then three solo voices, and building to encompass the full ensemble, the choir’s heartfelt performance highlighted their unity and expressive capabilities. This seamlessly switched to a quintet of voices for Anders Edenroth’s witty and theatrical treatment of Mozart’s Symphony No. 40, titled Gee! Mine or Mozart’s, (think about the title…). This was pure entertainment, again showcasing the versatility of this group and the choir’s lighter side, adding yet another fun twist to the evening.
Last but one was Hans Lang’s highly anticipated hit It’s Oh So Quiet!, popularised by Icelandic pop star Björk, I must say this was a standout success for this fan. The choir embraced the silliness and wit of Björk and Spike Jonzes’ whimiscal 1995 music video with enthusiasm and they pulled it off with aplomb, accompanied ably by the Kevin Hunt Trio. Zing boom!
Louiguy’s timeless classic La Vie en rose finished this memorable evening on a high note, as a ‘planned encore’. The Sydney Chamber Choir’s ability to adapt to various styles and settings was on full display tonight, affirming their reputation for excellence. This concert highlighted the choir’s versatility, the willingness to explore new areas of artistic direction, and, ultimately the unifying power of beautiful choral music.
Photo credit: Robert Catto
