REVIEW: Waverley Singers, Opera Gala, Farnham Maltings, October 26

This ‘Opera Gala’ concert was thrilling mix of two dazzling pianists, a pair of two energetic and eloquent soloists, and a choir singing in five languages, all brought together in a typically imaginative programme devised by conductor Richard Pearce.

The choir’s regular accompanist, Jakob Rothoff, got the biggest cheer of the evening, not only for his solo rendition of the hauntingly beautiful Automne op.35 no.2 by Chaminade, but also for nobly supporting the choir through all their choruses.

Mimicking the trumpets that mark the entrance of the King of Egypt in Verdi’s Triumphal Scene from Aida was only one of the many acts of musical prestidigitation that he took in his stride.

Pearce, backing both soloists from the piano, gave us a masterclass in the art and skill of the accompanist. One was reminded of the title of the legendary Gerald Moore’s memoir - “Am I Too Loud?”; the point being that the pianist should unobtrusively support the singer while at the same time doing justice to beautifully written music. Pearce certainly did both, demonstrating his extraordinary musical versatility as accompanist, conductor, and vocal coach, as well as organist.

Both soloists chose pieces that showcased their dramatic, as well as their vocal, abilities.

In the first half, tenor Robin Bailey gave his all in Kuda, kuda, Lensky’s poignant aria from Tchaikovsky’s Eugene Onegin, where the poet mourns the loss of his youthful ideals while having a premonition of his imminent death; this was a piece that fitted the singer’s talents perfectly.

In the second half, Bailey sang Che gelida manina (Your tiny hand is frozen) in English, which allowed the audience to chuckle at the more amusing aspects of the libretto,

Meanwhile soprano Nina Bennet tugged at the heartstrings in Leonora’s Pace pace mio Dio from Verdi’s La Forza del Destino, considered – as the programme note informed us – as a ‘technical challenge for sopranos’. Later she opted for the vocal gymnastics of Mercè dilette amiche from Verdi’s Sicilian Vespers.

These contrasting pieces allowed her to demonstrate her breathtaking vocal range: her high notes - scarily high - were solid as a rock, while her low ones were as smooth as liquid chocolate. Her solo in Purcell’s Dido’s lament was especially moving.

The choir tackled no fewer than thirteen favourite choruses in, variously, English, French, Latin, Italian, and Russian, with frequent shifts not only of language but of mood. One moment they were imprisoned exiles in Babylon and the next triumphant conquerors in Egypt.

If the alphabet soup of words – really meant to be sung without scores – sometimes left them a little tongue-tied, there was no lack of commitment or enthusiasm, and the audience lapped it up.

As Pearce told us, opera is all about the suspension of disbelief as improbable events unfold to a backdrop of glorious music!

The choir’s next concert is at St Thomas-on-The Bourne on Saturday, December 6, and includes Britten’s St Nicolas.

Review by Mike Aaronson