REVIEW: Skipton Choral Society, concert of music for Passiontide at Christ Church, by Val Middleton.

ON a bright sunny afternoon, the society performed Karl Jenkins’ Stabat Mater to a near capacity audience.

First performed in Liverpool’s Anglican Cathedral in 2008, the work is divided into 12 movements interspersing the six Roman Catholic sequences with six other texts added by Jenkins.

These include an Arabic Incantation, a Lament by the composer’s wife, and a 13th-century Persian poem sung in English and Aramaic.

Stabat Mater is recognisably ‘classical,’ using a traditional chorus, chamber orchestra and soloist with conventional harmonic progressions, often related to Baroque practices.

There is, as always with Jenkins’ work, a heavy deployment of percussion and there were a number of non-western instruments used including, in this instance, a washing up bowl!

The chorus sang with passion and conviction and for the most part there was an excellent balance between the small chamber orchestra and the chorus.

The soloist, mezzo soprano Beth Mackay, sang with warmth and deep expression. Her voice has a rich and pure tone and every word was sincerely delivered. Ibrahim Alami, the vocalist, added a wonderfully Middle Eastern sensibility and atmosphere to his solos and, by cleverly moving to different positions in the hall, varied the timbre.

Conductor Robert Webb’s meticulous preparation and control of the chorus was apparent throughout.

The choir’s initial diction of the Latin text in the first movement required more clarity but this vastly improved later in the performance.

Singing in English, Hebrew, Latin, Aramaic and Greek is a real challenge and the audience must be able to differentiate between the languages.

There was a beautiful opening by the sopranos in the passage Vidit Jesum in Tormentis, in which they soared and were ably supported by the excellent alto section, all conveying the mother’s anguish.

The men came into their own in this movement with some beautifully moderated ensemble singing.

Collectively the small chamber group gave good support and accompanied with great sensitivity.

There were some fine individual performances; Elizabeth Kenwood’s recorder duet with the tenor was beautifully haunting, as was her oboe accompaniment in the Lament. Tom Sharp on trumpet, Emily Harding and Vicki Madeley on the violin and the amazing percussion section all deserve special mention.

The Skipton Choral Society, together with the small chamber ensemble and two fine soloists, authoritatively directed by Robert Webb, gave us a sublime respite from the prevailing Covid 19 gloom and doom.

I thoroughly enjoyed this performance as did a most appreciative audience.