Rejoice!

King’s College Chapel, Saturday 9th April 2022

Independent Concert Review by Wayne Bennett

Musical Energy Let Loose

On reflection, it was strange to spend over two hours last Saturday evening listening to a programme of celebratory classical music entitled Rejoice! At a time when the news is dominated by so many crises, it was, for a moment, like being in a parallel universe. Maybe we’re not used to hearing live music on this scale. The Amici choir had marshalled an outstanding line-up of soloists and orchestral musicians. Their number was led by the internationally renowned soprano, Elizabeth Watts, who also happens to be the choir’s Patron. Joining her were alto Charlotte Badham, tenor Eamonn Mulhall and bass John Broad. Conducting honours were cleverly shared by the choir’s two music directors, Andrew Trewhella and Gareth Dayus-Jones.

The moment the orchestra struck up the start of Henry Purcell’s Te Deum in D we knew this was going to be an exceptional concert. The brilliant sound of trumpets and timpani heralded in the choir. It was a thrilling sound. Several members of the choir made individual contributions that were both idiomatic and beautifully contrasting against the larger forces from which they were drawn. Indeed, the contrasting voices achieved much emotional colour which was musically very affecting.

Elizabeth Watts took to the platform for a memorable performance of Mozart’s Exsultate Jubilate. Her experience on the operatic stage was much in evidence, not just in the vocal fireworks the piece demands, but also in the interpretative possibilities that the text provides. Watts is one of the world’s finest Mozartian sopranos (who happens to have her home in Taunton). Her coloratura is impeccable and the control and purity of line is simply extraordinary. Her voice has matured in recent years providing greater weight to the middle and lower register whilst in no way taking away anything from the silver-like sheen at the top of her range.

A break in texture was provided by an orchestral interlude in which we heard Mozart’s Serenade K525 ‘Eine Kleine Nachtmusik’. It was performed without a conductor with great panache and accuracy.

Elizabeth Watts returned and joined the choir for Mozart’s Laudate Dominum from his Vespers K339. After the busyness of the Serenade it was a moment when the pulse was slowed, the soprano line held in fragile suspension over the blended voices of the choir and orchestra.

In contrast the second part of the concert was dramatic, mostly loud, and even a little bombastic. Four soloists joined the choir and orchestra for Haydn’s Nelson Mass. It is a big sing for everyone – celebratory of Nelson’s victory over Napoleon, of course. A highlight was the Qui Tollis with Elizabeth Watts, John Broad and choir. Broad’s singing was lyrical and utterly beautiful, well-matched to Watts who reined in her voice to create a wonderful balance. Gareth Dayus-Jones conducted with great precision that elicited plenty of momentum and thrilling climaxes. He moved the work apace towards its resolution on the words Donna nobis pacem – Lord grant us peace. Exhausted by the impact the audience agreed with an enthusiastic and sustained response.

Once again, Amici confirmed its status as one of the region’s finest choirs. Their collective ability to organise concerts of this calibre is nothing short of exemplary. If I have a gripe, then it was with the presentation. The chapel at King’s College is arguably the best venue for large-scale classical music in Taunton; certainly in terms of acoustics. This being the case, it’s a pity that the lighting is so dire. We in the audience could hardly see the soloists and I noticed that some singers had invested in micro-lights attached to their scores. If these events are to be valued for what they are, then surely a small investment in some appropriate lighting needs to be made by the school.

Wayne Bennett