26 June 2024
Unusually, the nigh on 100-strong choir occupied the choir balcony throughout the first half, clad in black with gold sashes for the ladies, worn on the right shoulder for the sopranos stage right and on the left for the altos stage left; the tenors and basses in the middle. Before a note was sung, they looked absolutely stunning. …..
The choir were as aurally impressive as their visual promise. Scrumptiously sepulchral in the Introitus, the Kyrie gave a first taste of their ardent facility with contrapuntal singing as they were unleashed in a double fugue. Flawless pitching in the chromaticism of the Dies Irae confirmed their status as a topflight chorus. More delicious full-on counterpoint with Rex tremendae dropped dramatically to hushed awe and had me on the edge of my seat. A spirit-shocking contrast can be wrung from the brutality of the male voices interspersed with the gentleness of the female lines in the Confutatis and Kristiina Poska exploited this to great effect, the chorus evidently willing accomplices in the theatricality. The mood of the opening was recalled in the Lacrymosa, bringing the Sequentia to a close. Two more fabulous fugues drove the drama of the first part of the Offertorium, Domine Jesu. The second part, Hostias, with dynamic contrasts and searching harmonies, explored a range of keys before another dramatic fugue. Süssmayr’s Sanctus was satisfying with its wee fugue on the Hosanna. After the Agnus Dei, the Communio brought us back to Mozart’s glorious music from the beginning, fitted to the concluding liturgy. Perfect.
The Usher Hall audience knew they had experienced something special. The dynamic balance, a bit light on the string sound in the first half, was fine for the Requiem. The applause was enthusiastic and prolonged and the chorus’ Music Director, Darius Battiwalli, came to the stage to acknowledge it with the other performers. Ms Poska then addressed the auditorium, thanking the audience for the warm welcome and announced “a little present”. The four soloists had joined the choir in their balcony. All then performed the most perfect rendition of Mozart’s exquisite ‘Ave verum corpus’ as an encore. A perfect end to a perfect afternoon of music-making.
Donal Hurley
Full review in the Edinburgh Music Review (online review site)