The King’s Singers are an utter pleasure to listen to.
They’re also rather dapper in their tailored suits, with a wry and dry sense of English humour that comes out when they introduce each triplet of songs. One of them, for instance, lets the audience know that an Englishman demonstrates his state of relaxation by unbuttoning his suit. Humour can be very important in such concerts as these – where there are many short works one after the other – as a certain weariness can sometimes overtake the audience.
We begin with four pieces celebrating Harold Arlen and George Gershwin: ‘Get Happy’; ‘I’ve got the world on a string’; ‘Love is here to stay’; and ‘Oh! I can’t sit down.’ (It should be noted that for all but two pieces the six men are standing – only retreating to six identical stools at the back of the stage twice.) Between each of these songs, and all of the following, the lighting conditions in the Hall often change dramatically – sometimes leaving the audience momentarily in the dark. It is enough to heighten the variety as well.
Traditional American Spirtuals came next, with ‘Stand still, Jordan’; ‘Steal away’; ‘Down to the river to pray’; ‘Swing low, sweet chariot’; and ‘Little David, play on your harp.’ Then one of this critic’s favourites – Cole Porter – closes the first half with renditions of his songs ‘It’s de-lovely’; ‘Begin the Beguine’; ‘Night and Day’; ‘I’ve got you under my skin’; and ‘Let’s misbehave’; all arranged by Alexander L’Estrange. One has very fond memories of Cole Porter being put to ironic use in Barrie Kosky’s wonderful production of ‘Poppea’ four years ago, but it is nice to hear a more earnest version here.
Alexander L’Estrange is the exclusive arranger for the second half, with his hand being all over the new album that the King’s Singers are spruiking. The repertoire begins with ‘The best is yet to come’, followed by ‘I won’t dance’ and ‘When I fall in love.’ Then, ‘Beyond the sea’; ‘Cry me a river’; and ‘Bewitched, bothered and bewildered’; with ‘Cheek to Cheek’; ‘My funny Valentine’; and ‘The Lady is a Tramp’ to finish proceedings. And what proceedings they are – The King’s Singers have a genial presence on stage and, as they say themselves, perfect articulation and tone. It might be nice to hear something other than merely songs from the American Songbook, but one can’t fault an ensemble for doing pretty much perfectly what they set out to do. Enchanting, engaging, and always effervescent, this is a concert to lose yourself in.
Rating: 4 out of 5 stars
The King’s Singers: Great American Songbook
Baritone: Christopher Bruerton
Bass: Jonathan Howard
Tenor: Paul Phoenix
Countertenor: David Hurley
Baritone: Christopher Gabbitas
Countetenor: Timothy Wayne-Wright
City Recital Hall, Angel Place
www.kingssingers.com
25 June
