Choral Splendours

Image: Baroque Trinity, Hendrick van Balen, 1620

Tafelmusik energized audiences this past weekend with their wonderful concert “Choral Splendours”. Performances of Bach and Zelenka delighted crowds through their skillful (as always!), and passionate performances.

I am writing this sure that I was not the only one in attendance who was informed for the first time of Zelenka. While Bach is well known to many, his contemporary Zelenka delivered a similar punch, if in his own way.

The choir and ensemble were one organism, working together seamlessly to deliver beautiful selections from Bach, and the high energy and excitement of Zelenka's Missa Sanctissimae Trinitatis (Mass of the Most Holy Trinity). The execution was tight and skilled, with the nature of the music largely being fast, melismatic and alive with many fast figures (at times when one doesn't anticipate). The string players never missed a note, their fingers flying over the fingerboards with the woodwinds in tandem. The tone of the mass remained consistent, with the choir and orchestra using well dynamics and phrasing to keep audience attentive and engaged. The orchestra players really conveyed a sense of religious gravitas; the intensity and rhythmic sections instilling a very catholique 17th century fear and reverence for God. 

There were moments of levity with smaller ensembles singing in pairs and trios, with wonderfully contrasting sections of meditative reflection. Solo members from the chorus shone in their solo or duet assignments, showing both sides to their singing skills as choristers and soloists. Two of these moments included Nicholas Burns, a Canadian countertenor who’s voice filled the concert hall expertly. His tone and projection were beautiful to experience. 

However, Myriam Leblanc, Canadian soprano from Montréal, for me was the shining focal point, who dazzled and was radiant as she sang solos for both the Bach and Zelenka. Her tone is rich and full, but versatile and articulate, required for the melismatic nature of the genre. Not only did she sing so beautifully, but you could also see her passion and love for the art in all that she sang. Her expressions were of such love and joy for music that it enriched the entire experience further. It was a joy to hear and see her sing. 

A special note was the use of chalumeaux in the ensemble. As a relatively rare instrument, the playing of this precursor to the clarinet is an amazing example of Tafelmusik's commitment to the production of the highest quality and historical accurate performances of Baroque music in Canada and around the world. Tafelmusik ought to be noted on every music lover's attendance list, if not already.