Review in York Press
York Musical Society, York Barbican, June 11, 2016
Review by Claire McGinn
A short first half of Brahms comprised Geistlicheslied for piano and chorus, followed by the high-spirited Zigeunerlieder for solo soprano, alto, tenor and bass quartet. Kirsty Hopkins, Kate Symonds-Joy, Greg Tassell, and Andrew Mayor made the most of this light-hearted collection.
The second half – the main event – was a hugely enjoyable ride on the rollercoaster of Carl Orff’s vivacious Carmina Burana. Entries were confident and (despite one or two minor hiccups) ensemble, dynamics, and connection with director David Pipe were impressively consistent and accurate; no mean feat for such a large group.
Expertly accompanied by pianists Polly Sharpe and Nico de Villiers, along with six percussionists, the choir took this challenging work in their stride. York Junior Youth choir supported the group with enthusiasm, seizing their moment to shine alongside Hopkins in the irresistible Amor Volat Undique.
Tricky corners – exposed pianissimo high notes for the upper voices and fast-paced syllabic patter in Latin – were generally negotiated with style and ease.
Baritone Njabulo Madlala’s assured and expressive falsetto in Dies, Nox Et Omnia was no less arresting than his tempestuous delivery of the fiery Estuans Interius.
A notable highlight was Tassell’s appropriately sinister but unusually glamorous “roasted swan”. Dressed in white, replete with wings, face paint and feather boa, Tassell appeared from behind the audience for this morbid serenade and mimed turning a roasting spit before running dramatically offstage.
The ensemble’s exuberant performance matched the irrepressible ebullience of the work; the rapturous audience reception was well deserved.
Reproduced by kind permission of The Press