Sloane Square and Croydon Baroque!

Monteverdi 'Vespers' and Bach 'St John Passion'.

The weekend of  7^th and 8^th of March was spent supporting our sons’ musical endeavours. First up on the Saturday was Sam singing the Monteverdi ‘Vespers’ with the Collegium Musicum of London in the suitably opulent surroundings of Holy Trinity Church Sloane Square. The ‘Vespers’ have occasioned a good deal of scholarly debate, mainly centering around how much of the work Monteverdi published he would have expected to hear in a liturgical context. Collegium Musicum presented the ‘Vespers’ as published, so a gratifyingly packed church enjoyed a generous and rewarding evening of superb music. 

The Coll Mus choir numbered just under forty on this occasion. They gave a confident and technically secure rendition of some very complex polyphony, with separate vocal lines clearly defined: no easy task given the resonant acoustic. The choir’s commitment and enjoyment was, as always, palpable and heart-warming. This was another feather in a cap already gaudy with plumage. They were ably supported by a crack team of specialist baroque instrumentalists. Although relatively few in number, they were able to pack a considerable punch: an important consideration, as Monteverdi’s music is loudly celebratory as well as quietly contemplative. 

The soloists  proved to be a well-matched team. Sopranos Sumel Bao-Smith and Beth Yates were suitably pure toned in ‘Duo Seraphim’ and Simon Wall expertly demonstrated why ‘Nigra Sum’ is a jewel in the crown of the baroque tenor repertoire. Fellow tenors William Balkwill and Matthew Long also did sterling work in florid and wide ranging music (Monteverdi expected his tenors to sing low as well as high…). Richard Latham was the reliable bass. The only thing missing was the ability to match the instrumentalists in forte passages: three cornetts and three trombones can make quite ‘a triumphant shout’! Fortunately the choir was able to add the appropriate volume when required. 

Marshalling these forces, as always, was CML’s unassuming but consummately accomplished  conductor, Greg Morris. Apparently without ego, and entirely at the music’s service, he and his colleagues richly deserved the ovation which greeted this joyful performance. 

Next up, on Sunday, was Hugo in Bach’s ‘St John Passion’ given by the London Mozart Players with the Choir of Trinity School Croydon at the Fairfield Hall Croydon. An early disappointment was the programme. This listed the conductor but only some of the professional soloists, and did not provide biographies. Even more regrettably, the programme did not list the soloists from Trinity School or members of the choir. This was in stark contrast with the CML programme which, as usual, was a work of art in itself. Admittedly, the LMP programme was free, and the CLM programme had to be purchased, but I’d rather have paid a few pounds more for this important information. 

That aside, there was much in this performance to cherish, not least the very fine singing of the Trinity School Choir. Now a co-educational establishment, the School’s famous boy trebles were joined by girls on the top line, and I imagine on the alto line as well. Tenors and basses were almost all teenagers, with one or two adults adding support. The result was excellent, with the opening chorus cry of ‘Herr’ (‘Lord’) providing a thrilling portent of things to come. This choir has an earthy, elemental sound which is unique, in my experience, to choirs of this type. This was profoundly moving, and, dare I say, something like the sound Bach had in mind when he wrote the work. 

The other outstanding element in this performance was Nicholas Mulroy as the Evangelist. Singing from memory, he was entirely inside this most profound narrative, showing beautiful, silvery tone and a wide dynamic range. If this was not enough, a very late change in tenor soloist, saw Mulroy singing two of the arias as well, including the fiendishly difficult ‘Erwager’ (Ponder well), which he made sound effortless.  A superb, world-class, achievement. Hugo Herman-Wilson also impressed in the bass arias and as Pilate, singing with impressive technique and beautiful tone. He was very successful in demonstrating Pilate’s conflicted attitude to the crucifixion. Jacob Ng was a dignified Jesus, and the Trinity School soloists all made their mark, particularly the two boys singing the very demanding ‘soprano’ arias.  

Thomas Allery was the assured and responsive conductor. The LMP were on fine form, with the viola da gamba player quite outstanding. All in all, this was an inspirational performance which richly deserved the prolonged ovation it received at its conclusion.