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Bach under the direction of Peter Seymour is always something to look forward to, and last night’s performance of the magnificent Mass in B Minor lived up to expectation.
In the resonant acoustic of the beautiful St. Michael-le-Belfry Church I, for one, was convinced that the Mass really is ‘one of the greatest manifestations of man’s essentially religious spirit’. Directed with confidence and flair, Seymour’s passion for Bach’s choral masterpiece was evident throughout the two hour duration of the work.
Directed with confidence and flair
The Yorkshire Bach Choir sang with a blended and cohesive sound, at their strongest when accompanied by the full orchestra. The poignant Crucifixus, the central movement of the work, was also delivered with a sublime beauty and eloquence. Matching the choir’s sound, the orchestra, the Yorkshire Baroque Soloists, played with vitality and vigour. The ensemble was excellent throughout, and with the exception of a few minor tuning problems, the performance was of the highest standard.
Passages with trumpets and timpani were arresting in their strength and grandeur, but recitative sections were equally effective. Principal baroque cellist, Rachel Gray, provided sensitively phrased accompaniment to both vocal and instrumental solos. Particularly impressive was Anneke Scott’s natural horn solo; accompanying Matthew Brook’s lyrical bass aria, her performance was notable given the limitations of the period instrument.
The four vocal soloists were confident and assured, but it was Sally Bruce-Payne’s alto solos that stole the show for me. Her final aria was beautifully expressive, and sung with a tender purity and tone that fully conveyed the spirit of the words: 'Agnus Dei... O Lamb of God, that takest away the sins of the world, have mercy upon us.' It was this, followed by the concluding choral glory of the Dona Nobis Pacem that convinced me of the brilliance of this great work.
To find out more about the Yorkshire Bach Choir's season of performances, visit their website.
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