Ramsbottom Choral Society & Orchestra

Review 1 “Messiah”

Handel like Purcell, knew no amateur chorus societies. His choruses were of professionals and the soprano parts were sung by boys, the altos by men. The choruses in Handel’s day were habitually smaller than his orchestra. His oratorios were played in theatres, never in churches, except for some late performances of Messiah at the Foundling Hospital in London.

Here we are then at the Bolton Road Methodist Church in Bury with an amateur choir and orchestra ready to perform a masterpiece that never seems to lose its appeal through its message, an interpretation of the Christian view of the Messiah. Before a note had been sounded an air of expectancy was evident as the audience awaited the overture to proclaim the genius of Handel.

The soloists on this occasion were Suzanne Mather Soprano, Karen Bowers Contralto, Trefor Davis Tenor and Maurice Rushby Baritone. Handel gave them all opportunities for beautiful compassionate singing which they fulfilled admirably. Trefor Davies was singing for the first time with the Society and it was soon evident that he is an artist who serves the composer extremely well through his excellent voice and understanding of the music in hand. It was a great pleasure therefore that he set the tone for the work as a whole singing at the outset “Every Valley shall be exalted”. Maurice was in good form and his rich voice stirred our hearts especially when he sang “Why do the nations rage” at a resounding pace and tempo. The ladies too sang well and sympathetically with the right depth and intensity of feeling in the beautiful arias that Handel wrote for them. The performance of the work was a fine achievement for the Society. It showed how they can rise to meet the challenge. Perhaps the best feature of the evening was the chorus-singing which was robust and rhythmical, “Glory to God” went splendidly, its counterpoint surging along with irresistible power. The choir seemed better balanced than hitherto with the men holding their own against the singing of the blissful sopranos, always a pleasure.

The orchestra also played no small part in the production as a whole. Much of the playing was neat and tidy although careful observation of light and shade in some of the choruses would have heightened the dramatic effect. However, it was deeply satisfying hearing the sounds of organ, voices and orchestra in combination. It was evident that Barry had rehearsed both choir and orchestra thoroughly. The society were grateful to all who came to swell the ranks in the orchestra especially the young trumpeter Chris Parsons who played “The trumpet shall sound” with panache.
Apollo
 
Review 2 “Messiah success for Ramsbottom Choral Society”

On the 27th March 2010, Ramsbottom Choral Society played Handel’s Messiah to an appreciative audience at Bolton Road Methodist Church. The great work was played with confidence and as a result was an enormous success.

Supported by past and present students of Bury Music Service, the orchestra and choir grew to 90 in number. This provided the huge sound required to show the grandeur with which Messiah was written. The trumpet solo was played magnificently by Chris Parsons, an ex-music centre student now studying music in order to pursue a professional music career. The orchestra was led by Susan Crosdale and conducted by Barry Sugden.

The soloists, soprano Suzanne Mather, contralto Karen Bowers, tenor Trefor Davies and baritone Maurice Rushby all sang beautifully and brought Handel’s word-painting to life.

The sense of community within the concert peaked when the audience spontaneously stood for the Hallelujah Chorus, in the tradition of King George II. Hopefully, our audience rose from being so moved by the performance rather than to relieve the discomfort caused by gout as George II is rumoured to have done!

In the next concert, the society will be performing Songs from the Shows. This is a lighter programme than Messiah but no less enjoyable for it. See you then!
H.F.

   Read more reviews 

This 5th annual concert by these two groups given on Saturday 6th February at Bolton Road Methodist Church, maintained and possibly even surpassed the high standards we have come to expect from them. These joint concerts are always very popular and help to fund some of the ambitious programs undertaken by the society.

Once again several items were performed by the two groups together. Two were the well known Night and Day by Cole Porter and Goodnight Sweetheart by Calvin Shaw and James Hudson - the latter has become a signature tune for their joint efforts and is always a great favourite with the audience. Elizabethan Serenade by Ronald Binge featured just the ladies of Andantino with Tooti Flooti and a good balance was achieved which allowed the lyrics to be clearly heard.

Tooti Flooti played an Arabesque by Debussy with two traditional South American pieces -Cuchuracha and Wallaychu - in the first half. In the second half they presented Mozart’s Exultate Jubilate and a miniature overture of music from the Nutcracker by Tchaikovsky. Catherine Preston played as a solo a piece based on the theme from Racmaninoff’s 2nd Piano Concerto. Sadly an injury sustained by David Greenhalgh deprived us of a duet with Julie Leach.

Two members of Andantino, Maurice Rushby and Brian Milligan contributed solos. Maurice was very much in his element with Sea Fever by John Ireland and The Floral Dance by Katie Moss showing an impressive range without strain. Brian Milligan gave a spirited rendering of The Vagabond from the Songs of Travel by Vaughan Williams.

Andantino’s contributions covered a wide spectrum of styles. There were three madrigals (a core section of their repertoire since their foundation) - Now is the Month of Maying and Sing we and Chant it by Thomas Morley, with Weep O Mine Eyes by John Bennet. Andrew Lloyd Webber was the source for four songs. Two were from Joseph and the Amazing Technicolor Dreamcoat (Benjamin Calypso and Josephs Dreams). The other two were from Evita (On this Night of a Thousand Stars and I’d be Surprisingly Good for you). These arrangements ask a number of hard questions of a group of singers and Andantino came up with the right answers each time. Linden Lea by Vaughan Williams and Ave Verum by Mozart may be familiar but there was no contempt in these performances. The other items were a Russian song called Metyelitsa, Cole Porter’s Let’s do it and Old MacDonald in an arrangement by George Mitchell that was very funny. The penultimate item of Christopher Robin by Fraser Simpson was an appropriate way to bring the evening to a close.

Andantino Singers were on fine form and were directed as always by Barry Sugden, frequently from the piano. Nick Bury’s sensitive playing on the double bass added an extra dimension to Andantino’s sound. A most enjoyable evening was had by all.
M.H.
  Read more reviews