Soloists: Mary Bevan (Soprano), Katie Bray (Alto), Andrew Tortise (Evangelist) and Joshua Ellicott (Arias) (Tenor), Stephen Cooper (Christus) and Marcus Farnsworth (Arias) (Bass)
The choir’s deep knowledge of this music expressed itself in crisp articulation and never-flagging commitment
Review for Nottingham Evening Post
EVEN before the first note of the Nottingham Bach Choir’s performance on Saturday the audience knew that the narrative was paramount.
Suspended above the choir in Southwell Minster was a huge screen on which were projected translations of every chorus, recitative and aria. This enabled listeners to focus on the singers and see, as well as hear, their total immersion in the drama.
This was a performance in which singers realised the importance of singing with their eyes, bringing an almost operatic intensity to their roles.
The choir’s deep knowledge of this music expressed itself in crisp articulation and never-flagging commitment. Conducted with probing musical insight by Paul Hale, they were always dramatically convincing – whether as the voices of different communities of believers or as the clamorous, derisive crowds at the Crucifixion.
Eleven members of the choir sang cameo roles, each one well characterised and confidently projected, allowing key moments (such as Peter’s denial) under fierce scrutiny.
The soloists knew the work by heart, their eye-contact with the audience one of this performance’s most arresting features.
Andrew Tortise was outstanding as the Evangelist with a voice of purity and seemingly effortless power. Stephen Cooper was an eloquent, dignified Christus, and the arias were sung stylishly and with vivid attention to detail by Marcus Farnsworth, Joshua Ellicot, Mary Bevan and Katie Bray.
The fine playing of the Orchestra da Camera set the seal on what was a moving and memorable experience.