Carols are for Christmas

This was just a quickie for Coro; a concert at Christmas with one rehearsal. But these guys are good. They sang in the Grand Stairwell at Hotel Hotel. All cool and woody and earthy. Hip. But both Coro and this hotel have depth and quality. They started with a favourite, Ding dong merrily on high which is a classic Christmas carol and one of my favourites for that endlessly falling chorus, Gloria ... Hosanna in excelsis. Then a few more obscure pieces and a few better known ones: Poulenc's Videntes Stellam, Byrd's Lullaby my sweet little baby, Orff, Charles Ives, Silent night, finally Irving Berlin's White Christmas. There were just two singers per part, so 8 performers; just 7 while a bass had to go off to collect his wife (Christmas is a busy time, after all; this was Saturday; perhaps she was shopping). But 8 singers made the parts clear. I particularly noticed some very high but easy tenor lines. And those sopranos that always ring in the heavens. And the more complex harmonies sung by the altos and the basses that undergird all this. It was somewhat of a throwaway concert, but these are quality singers so any performance is worthy. Just carols at Christmas, but I left blissed out. Capable voices, diverse repertoire, unique environment, relaxed atmosphere: a winner all round.

Coro sang carols at the Grand Staircase at Hotel Hotel in New Acton. Just eight singers this day: Hannah Bleby, Gemma Dashwood (sopranos), Rebecca Alexander, Maartje Sevenster (altos), Paul Eldon, Ian Mills (tenors), Adam Coin, Daniel Sanderson (basses).

Acclamations of the season

From the first notes I was enamoured. This was Igitur nos with a small chamber orchestra (2xvln,vla,cl,bs), directed by Matthew Stuckings, playing a Christmas concert in the foyer of the National Portrait Gallery. Lots of light, lots of glass, lots of luscious choral reverb. In this space, I couldn't always pick up Matthew's comments, but the voices swelled beautifully. The first two songs were carols - Ding dong merrily on high and This is the truth sent from above (more obscure) - sung without accompaniment. I noticed sweet harmonies and accurate phrasing and shared enunciations: those final consonants crisply together, the dynamics common to all. This is a very nice choir. Then the chorus, And the glory of the Lord, from Handel's Messiah, all dignified and joyous. Magnificent. This was to repeat as the unplanned encore at the end. Then a English Protestant carol, by Orlando Gibbons regarding John the Baptist, all sparse and upright and clearly enunciated and featuring a solo alto by Rebecca Alexander. Then a few singalongs - Once in Royal David's city and Hark the Herald angel sings. I could see some moving lips but was hearing the choir. Then a very English song, Mine liking, all folky and rural and unadorned, and an English arrangement of the German In dulce iubilo, faithful and straightforward. Matthew introduced the next, by John Rutter, as his conversion to Rutter's compositions. The piece was What sweeter music and I'm sure the orchestra didn't blink at 6 flats. Then Healey Willen on the Epiphany and two more singalongs: O little town of Bethlehem and O come all ye faithful. By then, the audience was more confident, and I, for one, enjoyed the opportunity to join in (reasonably discretely!).

This was joyous and involving with its carol singalongs, but also remarkably beautiful with the lovely voices blending and expressing as one, and with a receptive string quintet of considerable presence. The space was worked well for the ensemble, even if it also highlighted occasional children's shrieks. So, a worthy acclamation for the Christmas period and a delight for the ears.

Igitur nos and its accompanying string quintet were directed by Matthew Stuckings. They perfomed a concert of Christmas carols in the foyer of the National Portrait Gallery. Rebecca Alexander (alto) soloed for the Gibbons.