Vocal and Choral

Review

When reviewing (in early 2004) the first solo album by Leslie Fagan, I stated that “she is in a class of her own.” What a pleasure to conclude, some 12 years later, that she remains just as original. Her career has taken her to the world’s most important concert stages, providing Fagan with opportunities to present both traditional (Handel, Mahler) and contemporary (Poulenc, Kulesha) repertoire. She is also active as a voice teacher, in schools ranging from Wilfrid Laurier to Juilliard. It is that latter school’s reverence for the American Songbook that prompted Fagan to record this first album of the Canadian Art Song Series.

Much to no one’s surprise, Canadian composers such as Gary Kulesha, James Gordon, Walter MacNutt, Imant Raminsh, Jeff Smallman and others, have been steadily amassing a repertoire of songs, set to the words of both Canadian and international poets. It is perhaps our ongoing doubt about the nature of Canadian identity that prevents us from recognizing and celebrating this treasure trove in the way the American Songbook is usually feted. I have a feeling that Prof. Fagan will soon change that, at least among her students.

In this first of hopefully many recordings, Fagan is in great form: clear, lyrical, playful (in Six Nursery Rhymes by Peter Tiefenbach) and pensive. She is showcasing not only her beautiful soprano (so reminiscent of her erstwhile teacher, Ileana Cortubas), but also an interpretive range to be envied. Lorin Shalanko’s accompaniment is superb – fully supportive and intelligent, bringing to mind some of Gerald Moore’s best recordings.

Review

The cover art of Voces8’s Winter accurately represents this gorgeous, chill compilation of choral pieces written and arranged by composers from countries of Northern climes. There’s an ethereal quality to the recording that evokes the Aurora Borealis, such as in the first track, Arnalds and Arnarson’s For Now I Am Winter.

And while the season pervades the album’s themes, there’s a lot of variety. Es ist ein Ros entsprungen is like a slo-mo version of the Praetorius standard, and the Balulalow text, written by the three 16th-century brothers and poets, the Wedderburns, is nothing like Britten’s version: where the Ceremony of Carols setting swells like waves off the North Sea coast, this one glides along like cross-country skis. Of course, my hero Pärt’s Nunc Dimittis is divine, as is Rachmaninoff’s Vespers. There’s harp accompaniment with a touch of the medieval in the traditional The Snow It Melts the Soonest, and the countertenors in Rebecca Dale’s premiere, Winter, reminded me of those in the Talla Vocal Ensemble. Ola Gjeilo offers up a Holst-based In the Bleak Midwinter, and it’s not so Christmasy that you can’t enjoy it now.

Perhaps most interesting are the featured Vasks pieces: three Plainscapes movements and The Fruit of Silence, the text of which was penned by Mother Teresa. All four convey the Latvian composer’s concern for and focus on environmental issues. This is a simply lovely, contemplative mood-setting release, with pristine choral and instrumental blending.

Review

David Olds’ notes in the November Editor’s Corner set the historical backdrop for Palestrina’s Missa Papae Marcelli. This particular recording looks back to original Renaissance sources rather than existing editions. What is more, its authenticity is enhanced as it was recorded within the Sistine Chapel, the result being a more intimate sound.

So it is, with the initial Kyrie eleison and Credo, as the young boys of the Chapel bring a human, almost relaxed interpretation. Incidentally, the recording notes include some enchanting photographs of the choir off-duty and clearly happy in their choral responsibilities.

More solemn is the two-part Tu Es Pastor Ovium, taken from Matthew 16:19 and composed for the coronation of Pope Sixtus V in 1585. This motet has a dominant element of mercy, especially appropriate in the Holy Year of Mercy decreed by Pope Francis for 2016. The plea for mercy is reflected in Ad Te Levavi Oculos Meos, its second part expressing that plea at its most direct.

Palestrina’s works do not have to be long or complex: O Bone Iesu, at under two minutes, conveys an intensely spiritual message in a simple structure. Equally uplifting is the Sistine Chapel’s interpretation of Benedixisti, Domine, with its theme of God’s forgiveness for His people’s iniquities.

Last of the longer pieces in this selection is Jubilate Deo. This tests the abilities of the Sistine Chapel Choir – and its chief chorus master Massimo Palombella – more than any other piece on the CD. It goes without saying that its rendition of the Gloria Patri will revive even the most jaded of listeners.

Review

In the wake of a much-loved Canadian icon’s recent passing, it seems uncannily prophetic to have chosen settings of Leonard Cohen’s poetry for the centrepiece of this recording. Wandering Heart, by Latvian composer Ēriks Ešenvalds, begins with Twelve O’Clock Chant, a selection from The Spice-Box of Earth, the 1961 publication which established Cohen’s reputation as a lyric poet. This is followed by I Lost My Way from the poet’s Book of Mercy, and the third, The Road Is Too Long, is from Cohen’s Book of Longing.

Wandering Heart is also the first composition to be commissioned from the fund named in honour of Chor Leoni’s founding director, the late Diane Loomer. The choir does honour to the memories of these artists, with the melodic clarity and honesty of expression this group of men are known for. In addition to Wandering Heart and two other pieces by Ešenvalds, the album also features music by Mendelssohn, Paul Mealor, Robert Moran, Kim André Arnesen and Morten Lauridsen. Artistic director Erick Lichte describes a common theme, with the selections representative of distances physical, spiritual and emotional, especially focusing on those “separated by the vast distance of death and how love can bridge this expanse.” Very timely indeed.