Cheers to Fulcher
Garth Wilshere
J S Bach: Mass in B minor, Orpheus Choir and soloists, Vector Wellington Orchestra, conducted by Michael Fulcher, reviewed by Garth Wilshere
THE Bach Mass in B minor is one of the great choral works and the Orpheus Choir did it proud in an impassioned performance.
They were a big group, but their singing was clean and agile. They handled the various divided choruses requiring up to eight part singing well. The women are of particular note, with soprano and alto sections, strong. The men are a little less impressive and although the tenors were fresh their smaller numbers showed occasionally in affecting balances. Clearly conductor Michael Fulcher had prepared them all well and worked hard with his choral forces.
The choir sang with real energy, and when in full-voice with the orchestra the effect was uplifting.
While this wasn’t an “authentic” version in choir or orchestra recreation, the smaller forces of members of The Vector Wellington Orchestra with some significant additions of NZSO players in winds and especially trumpets and timpani, added gloss.
The playing took account of modern research into period instrument practice with a lean vibrato-less sound and crisp tight timpani to provide pulse and rhythmic drive.
Chamber organ and obbligato playing was excellent.
The five soloists, sopranos Madeleine Pierard and Lisette Wesselling, counter tenor, Christopher Warwick, tenor Paul McMahon and bass Daniel O’Connor were evenly matched although in performance terms seemed a little detached.
However this was the Orpheus’ night and they delivered a great performance and the whole was affecting and enjoyable.
THE Bach Mass in B minor is one of the great choral works and the Orpheus Choir did it proud in an impassioned performance.
They were a big group, but their singing was clean and agile. They handled the various divided choruses requiring up to eight part singing well. The women are of particular note, with soprano and alto sections, strong. The men are a little less impressive and although the tenors were fresh their smaller numbers showed occasionally in affecting balances. Clearly conductor Michael Fulcher had prepared them all well and worked hard with his choral forces.
The choir sang with real energy, and when in full-voice with the orchestra the effect was uplifting.
While this wasn’t an “authentic” version in choir or orchestra recreation, the smaller forces of members of The Vector Wellington Orchestra with some significant additions of NZSO players in winds and especially trumpets and timpani, added gloss.
The playing took account of modern research into period instrument practice with a lean vibrato-less sound and crisp tight timpani to provide pulse and rhythmic drive.
Chamber organ and obbligato playing was excellent.
The five soloists, sopranos Madeleine Pierard and Lisette Wesselling, counter tenor, Christopher Warwick, tenor Paul McMahon and bass Daniel O’Connor were evenly matched although in performance terms seemed a little detached.
However this was the Orpheus’ night and they delivered a great performance and the whole was affecting and enjoyable.
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