Russia came to Eye Church
Russia came to Eye Church in this concert of Rachmaninov and folk music, directed by Leslie Olive.
Composed during the First World War, two years before the revolution, the ‘Vespers’ seemed like the end of the Russian Church.
A century later, those gentle alleluias are still pouring out, seeming to show an inextricable link between faith and folk.
Some of the more stentorian bass items were omitted, but others had a murmuring, hive-like quality, with spurts of rejoicing.
It was a masterstroke to include the Muzika Lyra trio, interspersed with the Rachmaninov. Lila Moshtel sings in such a warm, impassioned way that, as with Edith Piaf, you don’t have to understand the words. Pianist Nadia Giliova made the difficult Rachmaninov Preludes seem easy. Julian Milone is a master violinist, whether in stately moods or a bow-blurring Hungarian Dance. The well known pieces known to us as Midnight in Moscow, Kalinka and Those Were The Days ended this endearing concert, with the audience singing along.
Basil Abbott, Diss Express
What a wonderful performance the Eye Bach Choir made of the Rachmaninov Vespers. The sound was mesmerising. Singing a cappella one realises what a glorious sound the choir makes.The opening was stunning. I only wish we could have heard more movements. Music Lyra were also first rate and were a real discovery. It was good to hear authentic Russian sound. A wonderful evenings all round
Rachmaninov Vespers from the All Night Vigil, 14th November 2018
Amazing Power of the Choir
I haven’t been to a concert like that before. It was really good. I thought the power produced by the choir was amazing. I will certainly come again!
A Resident of Eye
Two versions of Glory, ample expression in this touching concert
Two versions of Glory, those of Poulenc and Puccini, were on offer at Eye Church. The concert began with Faure’s Pavane by the Kingfisher Orchestra, serpentine and stately but with a passionate undertow. Poulenc’s Gloria is 20th Century music with that feeling of trouble beneath the time-honoured religious sentiments. Under Leslie Olive’s direction the choir found these elements, including the occasional irreverence in the work.
The addition of an organ, played by Alexander Binns, added warmth, drama and reassurance to the blend. Soprano Lisa Cassidy’s singing was beautiful and troubled, her Amens like a cry in the night against the gentle surge of the choir.
Puccini’s Messe di Gloria had a serene tuneful opening, a tripping Gloria, and often the rolling momentum of popular opera choruses. Tenor Paul Smy had a voice that was like a rushing wind with arrows.
Both works came to prominence in the mid 20th century. Their different glories found ample expression in this touching concert.
Basil Abbott, Diss Museum
Outstanding Bach from Eye Bach Choir and the Kingfisher Sinfonietta on Saturday in Eye Church, with the Magnificat (in D), the Cantata that subsequently went into the Gloria of the Mass in B Minor, and the Vivaldi Gloria. Authoritative singing supported by excellent string leading from Beth Spendlove, delightful flute and oboe obligate, and absolutely sparkling high trumpets. Congratulations to all
On Saturday in Eye Church Eye Bach Choir performed the two requiems by the twentieth century French composers Durufle and Faure. The choir was accompanied on the recently installed magnificent Binns organ by Ian le Grice whose playing was outstanding in its sensitivity and mastery of the challenging and intricate score. His clarity of playing enabled the choir to sing with a great dynamic range, especially in the Durufle.
Leslie Olive’s conducting drew out the textures and colours through some exceptionally quiet singing from the entire choir; for example in the final few bars of the Durufle it created the mood of calm and repose perfectly.
Lisa Cassidy, Soprano, sang the solo arias in both works. Her ‘Pie Jesu’ in the Faure was beautifully composed and ethereal. A new young baritone, Malachy Frame, sang with great power and assuredness and is a talent to watch.
Saturday 26th November 2016
Baroque – Eye Bach Choir
Shirtsleeves and coloured tops were a relaxed feature of this Eye Town Hall concert conducted by Leslie Olive.
The bible provided much of the source material in Baroque music. So we heard Vivaldi’s Magnificat and Credo, a setting of the Nicene Creed. Then we heard some Mozart, Lotti’s Crucifixus and Pergolesi’s Stabat Mater. The religious music had an austerity about it but also an enervating, life-affirming glow.
The performance by William Bass in Vivaldi’s Cello Concerto was as starry as his shirt. He showed an adept, urgent flourish in the Allegro, a soulful intensity in the Largo, gliding into a vivacious Adagio.
In a Divertimento the orchestra recreated all the Allegro’s vitality, Andante’s serenity and Prestos’ tripping feel that the teenaged Mozart composed.
Under Mr Olive’s direction the choir tackled the high passions of Calvary, achieving passages of storming adoration.
Basil Abbott, Diss Express
Brahms Requiem Review in the Diss Express
Brahms in 1866 and Lauridsen in 1977 bought sought in music consolation for their dead mothers.
Instead of an orchestra, the German Requiem featured two pianists, Ian Le Grice and Jonathan Rutherford, at one piano. Their contribution was constant and telling.
Under Leslie Olive’s direction, the gently welling first chorus would have comforted any bereaved person.
The choir brought shudders of mortality to All Flesh is Grass, a peaceful lovely energy to How Lovely Are Thy Dwellings and some thrilling notes to the dead being raised.
The soloists were Alan Loader, with an eloquent bass-baritone voice, and Jane Burnell, still young enough to be pre-university. She combined the innocence of the pure soprano voice with the assurance of things to come.
With Ian Le Grice now at the organ, Lauridsen’s Lux Aeterna had a very different texture to the Brahms. Warm and heartfelt, it provided a complimentary version of bereavement and the letting-go process.
Basil Abbott, Diss Express
Eye Bach Choir Sings the Blues
On Saturday night in Eye Town Hall, an excited audience was brought to its feet by a dynamic performance of Will Todd’s ‘Mass in Blue’. It was given by – yes, the Eye Bach Choir. It is difficult to imagine such a lofty Victorian pile as the venue for an evening of intimate jazz and blues, but somehow the organisers pulled it off. The audience sat round tables enjoying wine and nibbles during the show. The performance was underpinned, musically, by a marvellously gifted quartet of young musicians from the Royal Academy of Music formed specifically for the concert, and led by the accomplished pianist Owen Dawson. They improvised beautifully in the classic jazz style, in a set of numbers of their own, each displaying his or her talent, and they were particularly sensitive and skilful in accompanying the glamorous singer Lisa Cassidy in numbers by Thelonius Monk – ‘Around Midnight’ – and Gershwin’s ‘That man of mine’. Also in the first half, Lisa and the choir gave an upbeat and vigorous performance of a medley of songs from ‘Porgy and Bess’.
However, there was little doubt that it was ‘Mass in Blue’ which was the show-stopper. Written originally for the Hertfordshire Chorus, Will Todd’s brilliant blend of driving jazz grooves and clear strong choral blues writing, against which the quartet and soloist weaved and blended in a delightful aural tapestry, is a winner. Lisa Cassidy’s ‘sparkly’ performance was cool and confident. At one point, she effortlessly held a top ‘C’ for several bars and throughout the work she performed with great musical concentration yet in an appropriately sensuous and romantic manner. The concert was conducted by Leslie Olive who deserves enormous credit not just for driving forward and creating many moments of sheer magic from the performers, but for having taught what is essentially a choir with a thoroughly classical background, to sing and react to such entirely different music. All musical performances require precision and discipline, none more so than works based on jazz themes, and the apparent ease with which the players and singers performed belies what must have been very hard work undertaken by those taking part in this magnificent concert.
Diss Express Review of Petite Messe Solennelle
Rossini’s work Petite Messe Solennelle is not little, solemn or a Mass; but a feast of pleasures.
Under Leslie Olive’s direction, Eye Bach Choir seemed to pick up on the benign spirit of the composer. Their Kyrie had a sweet sanctity, holiness with happiness, accompanied by Jonathan Rutherford’s tripping piano.
The concert had piano and keyboard (Suzanne Vandenburghe) rather than an orchestra. Standing in at short notice, tenor Nico Darmanin let fly in operatic style in the Domine Deus – a star performance.
A lachrymose duet by soprano Fiona Campbell and contralto Jane Haughton, with a rippling piano, built to an enervating end. The same could be said for bass Dhilan Gnanadurai’s solo, starting grim and ending in hope.
The choir’s Cum Sancto Spiritu was like a canter through a sun-kissed landscape. Fiona Campbells’ Crucifixus was sung like a love aria.
The romantically operatic elements of the work were given full expression. Renowned gourmet Rossini would have enjoyed the feast.
Basil Abbott,Diss Express,November 2014