Beautifully
conducted

Oxford
Bach Choir and Charivari Agréable: Sheldonian Theatre

Oxford Times, 30
June 2011

By David Watson

Last
Saturday the Oxford Bach Choir took on the challenging compilation by
Monteverdi in 1610 of the various Vesper Psalms, Motets and concluding
Magnificat “for the Feast of the Assumption of the Blessed Virgin Mary” which
have come to be known as the Vespers, his most renowned religious work.  The challenge arises from the variety of
styles, both secular and religious, which Monteverdi employed, coupled with the
virtuosity in the writing, both for the choir, soloists and instrumentalists.

Monteverdi
himself might have approved of the venue, the Sheldonian Theatre, which dates
from only half a century or so later than the Vespers themselves, and offers
the possibility of similar antiphonal effects to those of St. Mark’s, Venice,
of which the Choir and its conductor, Timothy Byram-Wigfield, took full
advantage.

The
sprung, dancing rhythms and syncopations in this music are a source of constant
delight; they were given full rein by Byram-Wigfield’s clear direction and
tempi sensibly not too fast for a large choir, tempi which also gave space for
the rich sonority and splendour of Monteverdi’s choral writing for up to eight
parts, excitingly realised by conductor and choir. 

The
choir showed every evidence of careful rehearsal, and there were many
beautiful  moments and stirring climaxes.

There
was an excellent team of soloists who all sang with a real feel for their often
virtuosic music, immaculate ensemble and sense of period style.  They consisted of the sopranos Elenor
Bowers-Jolley and Miriam Allen, countertenor Rory McCleery, tenors Ben Alden
(who deserves a special mention for his beautiful solo motet “Nigra sum” sung
from memory), Thomas Elwin (who stepped in at ten days’ notice) and Joseph Ford
Thompson, and basses Thomas Friberg and George Coltart.

The
orchestra was the period group Charivari Agréable, who painted Monteverdi’s
instrumental effects in bright colours throughout as well as providing clear
backing for the choir and stylish continuo playing for the soloists. 

The
choir was also joined by the young choristers or Quiristers of Winchester
College (Director – Malcolm Archer), who sang their far from easy contributions
with musicality and professionalism.

As
a whole the performance was most convincing in its realisation of Monteverdi’s
many styles and beautifully conducted throughout.

David Watson