The Sixteen was the group in charge of such revelations, and began so by bringing more than 16 members onto the stage. In an interview recently, director Harry Christophers described the number as being rather flexible, so one was not too perturbed. And, as the saying goes, the more the merrier. It was an all-Handel affair, though the less musically literate of audience members may have had some trouble determining this, what with the A4 sheet of paper that constituted the program failing to mention the composer’s name anywhere on the list of pieces to be played. (This was but one of a few glaring defects.)
Let thy hand be strengthened, one of the four anthems written by Handel for George II’s coronation, opened the concert. Here the choir and orchestra showed that they had a firm grasp on the music – the balance was virtually flawless, the articulation superb, the tones never anything less than pleasant, and the overall effect transporting. Silete venti was the second and final piece of the first half, soprano Gillian Keith rather animated for the duration, her lips especially, as they quivered throughout, while her face was pleasingly expressive. Her voice had a comforting tone, and her melodic sallies during the long vowels never felt forced or panicked – there was a lovely roundness to every utterance. Her back-and-forth with the oboist (who presumably has a name, but is nowhere to be found in the program) was playful without sacrificing the integrity of the whole.
The second half began with Nisi Dominus, ably rattled off by all, the various soloists – alto Ian Aitkenhead, tenor Jeremy Budd, and bass Stuart Young – excusing themselves from the choral stand and making their way to the front, conductor Harry Christophers, sans podium, often walking far away from his music to a position visible to the singers. The concert up to this point was a memorable one, with the quality superb though not reaching ecstasy, until the final piece, Dixit Dominus, began.
The only criticism to be made of this was the alto and soprano, singing from within the choir for the first section, seemed to lack power that had one concerned for their future solos, though once they came to the front these misgivings were erased. But what fantastic music every other part of this piece was. One wishes to make special mention of all the soloists, including the alto, though one is hesitant to do so, as the program tells us the alto was one William Missin, when, unless all this critic’s faculties have deserted him, clearly there was a woman, in a dress, on stage. Still, whoever she was, her singing was fantastic, along with the entire choir, the piece as a whole one full of energy, depth of feeling, and exceeding beauty (especially in the second last movement, De torrente in via bibet, where sopranos Charlotte Mobbs and Kirsty Hopkins performed in a duet). Before the Dixit Dominus it was a merely memorable concert; after Dixit Dominus it was a concert that made one want to live longer to remember it for.
Rating: 5 stars out of 5
The Sixteen Choir and Orchestra
Conducted by Harry Christophers
HANDEL
Let thy hand be strengthened (Coronation Anthem No.2)
Silente Venti
Nisi Dominus
Dixit Dominus
Please note: Following information received by The Sixteen Productions Ltd, Arts Hub can advise that there was a last minute change to the alto soloist as noted above due to William Missin becoming critically ill shortly before the tour; Kim Porter graciously stepped in. The oboe solo was played by Leo Duarte – Ed.
