A varied programme, mainly from two popular composers of different traditions who died within weeks of each other, was presented by Bury Choral Society, accompanied by Bury Camerata and Jonathan Ellis, and conducted by Juan Ortuño.
The first half opened with Vaughan Williams’ Serenade to Music. From the luscious string
opening, to the effective cushion of choral sound, to the spirited solos from choir members, this was an expressive performance. We were then treated to a group of pieces by Fauré, including the popular Pavane, and the Cantique de Jean Racine, a product of Fauré’s youth. Together with the Madrigal, we enjoyed the melodic and stately approach of Fauré’s take on ‘early’ music, performed with warm, effective dynamic control. Within this group, the tenor soloist Liam Forrest performed Fauré’s song Claire de lune; this was exquisitely sung and played.
The first half closed with “Perché tarda la luna?” and “Nessun dorma” from Puccini’s last
opera Turandot. This provided good opportunities for varied textures from the choir, and an excellent context for the ever-popular “Nessun dorma” where Liam Forrest truly triumphed with his “Vincero!”
The main work of the second half was Puccini’s early work Messa di Gloria; it emonstrates
already Puccini’s facility in creating glorious operatic melodies, as for example in the “Qui
tollis”. This was a well-prepared performance, from the poised Kyrie, to the energetic main Gloria section, the operatic Credo and to the final two short movements, Sanctus and Agnus Dei. The “Cum Sancto Spiritu” at the end of the Gloria, is a challenging fugue, and the counterpoint was clear, and the piece well sustained. The orchestra accompanied beautifully throughout, without dominating. The exceptional talents of Liam Forrest did justice to the “Gratias agimus Tibi” and the “Et incarnatus”. Ádám Kresznerits performed the“Crucifixus” and the “Benedictus” with great skill.
The concert concluded with a bonus track! Richard Youngman, who is retiring from the role of deputy conductor, led the whole ensemble in a rousing performance of Handel’s
coronation anthem “Zadok the priest”, in a touching reference to his own boyhood.
Throughout, this was a well-presented performance, with attention to detail in the
performances of both choir and orchestra.
Alan