Summer Concert 2016
A Night at the Opera
The partnership of Paddock Wood Choral Society and Matchbox Opera provided a varied and entertaining evening of music at St Andrew’s Church on Saturday 25th June 2016. Neither performers nor audience were distracted by the intermittent interruptions from the thunder and lightning outside and there was certainly a rich programme of music to enjoy.
The music ranged from the 17th Century with Purcell’s “Dido’s Lament”, right up to the current day with “Bring Him Home” from Les Miserables and the mixture of solos and choruses worked well. The choir was in fine voice led by Dean Waller. There were some rousing items, including the “Chorus of the Hebrew Slaves” and the “Triumphal Scene” both by Verdi and the demanding “Polovtsian Dances” by Borodin which contrasted with the gentle “Bell Chorus” from Pagliacci.
The combination of chorus and soloists in items such as “Brindisi” from La Traviata and “Habanera” from Carmen saw some engaging dialogue and the choir rose to the challenge of some quite complicated choreography with their normal sang froid adding real colour and energy to the performances. The final “Easter Hymn” from Cavalleria Rusticana brought all participants together in a splendid final climax with organ support from Paul Jeffery.
The evening brought a panoply of talented soloists to the fore. Mark Pasola was authoritative and commanding in the Prologue and in the Finale from Tosca, whilst Annie Rogers played versatile and flirtatious roles in “Brindisi” “Musetta’s Waltz”, and “Habanera” from Carmen. Rebecca Mitchell’s “Marietta’s Lied” was sensitively sung with some lovely high notes and her “Jewel Song” was a sparkling and accomplished performance. Abigail King brought clarity and commitment to her two solos, Rebecca Foster’s demanding aria from “The Magic Flute” was expressively sung and Adrian Berendt’s dramatic “Catalogue Aria” from Don Giovanni was vastly entertaining with its added local colour. “Bring Him Home” from Les Miserables is a challenge for any singer, musically, technically and emotionally and I cannot imagine a more committed and moving performance than that given by Angus Morton - he certainly drew some tears from his totally absorbed audience.
There was obviously some regret at the announcement that international pianist Jong-Gyung Park was unable to play, but what good fortune for us all that she was able to provide a deputy (her husband!) whose musical skill and technical accomplishment enabled him to convey the whole orchestral palette of the evening’s operatic repertoire whilst at the same time providing such sensitive and intelligent support for each and every soloist. Anthony Zerpa-Falcon’s playing was a key factor in the overwhelming success of this Night at the Opera.
Marjorie Ayling
The partnership of Paddock Wood Choral Society and Matchbox Opera provided a varied and entertaining evening of music at St Andrew’s Church on Saturday 25th June 2016. Neither performers nor audience were distracted by the intermittent interruptions from the thunder and lightning outside and there was certainly a rich programme of music to enjoy.
The music ranged from the 17th Century with Purcell’s “Dido’s Lament”, right up to the current day with “Bring Him Home” from Les Miserables and the mixture of solos and choruses worked well. The choir was in fine voice led by Dean Waller. There were some rousing items, including the “Chorus of the Hebrew Slaves” and the “Triumphal Scene” both by Verdi and the demanding “Polovtsian Dances” by Borodin which contrasted with the gentle “Bell Chorus” from Pagliacci.
The combination of chorus and soloists in items such as “Brindisi” from La Traviata and “Habanera” from Carmen saw some engaging dialogue and the choir rose to the challenge of some quite complicated choreography with their normal sang froid adding real colour and energy to the performances. The final “Easter Hymn” from Cavalleria Rusticana brought all participants together in a splendid final climax with organ support from Paul Jeffery.
The evening brought a panoply of talented soloists to the fore. Mark Pasola was authoritative and commanding in the Prologue and in the Finale from Tosca, whilst Annie Rogers played versatile and flirtatious roles in “Brindisi” “Musetta’s Waltz”, and “Habanera” from Carmen. Rebecca Mitchell’s “Marietta’s Lied” was sensitively sung with some lovely high notes and her “Jewel Song” was a sparkling and accomplished performance. Abigail King brought clarity and commitment to her two solos, Rebecca Foster’s demanding aria from “The Magic Flute” was expressively sung and Adrian Berendt’s dramatic “Catalogue Aria” from Don Giovanni was vastly entertaining with its added local colour. “Bring Him Home” from Les Miserables is a challenge for any singer, musically, technically and emotionally and I cannot imagine a more committed and moving performance than that given by Angus Morton - he certainly drew some tears from his totally absorbed audience.
There was obviously some regret at the announcement that international pianist Jong-Gyung Park was unable to play, but what good fortune for us all that she was able to provide a deputy (her husband!) whose musical skill and technical accomplishment enabled him to convey the whole orchestral palette of the evening’s operatic repertoire whilst at the same time providing such sensitive and intelligent support for each and every soloist. Anthony Zerpa-Falcon’s playing was a key factor in the overwhelming success of this Night at the Opera.
Marjorie Ayling