Choirs in fine voice in Llanelli
Concert review: Classical Choral - Featuring Cor Baroc, Cor Meibion Llanelli, Adele O’Neill (soprano), Sarah Pottinger (mezzo-soprano), Richard Allen (tenor), Trystan Lewis (bass), Alan Fewster (organ) and the Glamorgan Chamber Orchestra (Leader: Mansel Hughes) at Tabernacle Chapel, Llanelli, Saturday, October 9.
Eifion Thomas has long been recognised as one of the torch bearers when it comes to keeping Llanelli’s rich musical tradition alive.
It is a role he revels in, as he proved when he brought two of his choirs centre stage for ‘Classical Choral’ at Tabernacle Chapel, Llanelli, on Saturday night.
Taking centre stage were Cor Baroc, a 65-strong mixed choir formed by Mr Thomas in 2006.
They were joined by Cor Meibion Llanelli, the juggernaut 70-strong male voice choir which enjoys a worldwide reputation.
And the icing on the cake was provided by four young soloists - Adele O’Neill (soprano), Sarah Pottinger (mezzo-soprano), Richard Allen (tenor) and Trystan Lewis (bass).
Mr Thomas explained the driving force behind ‘Classical Choral’ –
“Followers of musical history will appreciate the major role that Capel Tabernacl (Tabernacle Chapel) has played in Llanelli,” he said.
“During the 1940s and ’50s, a host of famous singers graced the concert stage in the chapel when taking part in the annual oratorio.
“Names such as Kathleen Ferrier, Joan Hammond, Walter Widdop, Walter Glynn, David Franklyn, David Lloyd, John Cameron and a very young Joan Sutherland appeared on the concert programmes during those halcyon years.
“Times have changed, but choirs and audiences remain. So we thought, why not combine two of Llanelli's famous choirs in an effort to revive the tradition of classical choral music in the town?
“We hope that the four young soloists featured will develop into famous singers like the illustrious stars who once graced the stage at Tabernacle Chapel.”
The programme included – Requiem in C by Charles Gounod; Wie Selig Sind Die Toten by Felix Mendelssohn; Una Voce Poco Fa by Rossini; the Chorus of Hebrew Slaves from Verdi’s Nabucco; the Intermezzo from Mascagni’s Cavalleria Rusticana; Donizetti’s Mary Stuart’s Prayer; the Prisoners’ Chorus from Beethoven’s Fidelio; and a selection from Verdi’s I Lombardi.
Gounod’s Requiem in C is rarely heard today. In fact, Mr Thomas had to delve through the dusty archives at the treasure-trove which is Llanelli public library to find a copy of the score.
Once the early cobwebs had been blown away, it was given a stirring revival by the choirs and soloists.
Pembrey-born Sarah Pottinger provided one of the individual highspots of the evening with a dramatic rendition of Rosina’s Una Voce Poco Fa aria from the Barber of Seville.
Soprano Adele O’Neill was every bit her equal in Donizetti’s Mary Stuart’s Prayer.
But it was an evening when collective power outshone individual triumphs.
More than 130 choristers in full voice provides a vocal treat designed to make the hairs on the back of your neck stand up.
And they achieved just that with the Chorus of Hebrew Slaves from Nabucco and the final act of I Lombardi.
Musical director Eifion Thomas loves his Verdi. And Llanelli loves its rich choral tradition. On the evidence of this, it will continue to thrive long into the future.
Eifion Thomas has long been recognised as one of the torch bearers when it comes to keeping Llanelli’s rich musical tradition alive.
It is a role he revels in, as he proved when he brought two of his choirs centre stage for ‘Classical Choral’ at Tabernacle Chapel, Llanelli, on Saturday night.
Taking centre stage were Cor Baroc, a 65-strong mixed choir formed by Mr Thomas in 2006.
They were joined by Cor Meibion Llanelli, the juggernaut 70-strong male voice choir which enjoys a worldwide reputation.
And the icing on the cake was provided by four young soloists - Adele O’Neill (soprano), Sarah Pottinger (mezzo-soprano), Richard Allen (tenor) and Trystan Lewis (bass).
Mr Thomas explained the driving force behind ‘Classical Choral’ –
“Followers of musical history will appreciate the major role that Capel Tabernacl (Tabernacle Chapel) has played in Llanelli,” he said.
“During the 1940s and ’50s, a host of famous singers graced the concert stage in the chapel when taking part in the annual oratorio.
“Names such as Kathleen Ferrier, Joan Hammond, Walter Widdop, Walter Glynn, David Franklyn, David Lloyd, John Cameron and a very young Joan Sutherland appeared on the concert programmes during those halcyon years.
“Times have changed, but choirs and audiences remain. So we thought, why not combine two of Llanelli's famous choirs in an effort to revive the tradition of classical choral music in the town?
“We hope that the four young soloists featured will develop into famous singers like the illustrious stars who once graced the stage at Tabernacle Chapel.”
The programme included – Requiem in C by Charles Gounod; Wie Selig Sind Die Toten by Felix Mendelssohn; Una Voce Poco Fa by Rossini; the Chorus of Hebrew Slaves from Verdi’s Nabucco; the Intermezzo from Mascagni’s Cavalleria Rusticana; Donizetti’s Mary Stuart’s Prayer; the Prisoners’ Chorus from Beethoven’s Fidelio; and a selection from Verdi’s I Lombardi.
Gounod’s Requiem in C is rarely heard today. In fact, Mr Thomas had to delve through the dusty archives at the treasure-trove which is Llanelli public library to find a copy of the score.
Once the early cobwebs had been blown away, it was given a stirring revival by the choirs and soloists.
Pembrey-born Sarah Pottinger provided one of the individual highspots of the evening with a dramatic rendition of Rosina’s Una Voce Poco Fa aria from the Barber of Seville.
Soprano Adele O’Neill was every bit her equal in Donizetti’s Mary Stuart’s Prayer.
But it was an evening when collective power outshone individual triumphs.
More than 130 choristers in full voice provides a vocal treat designed to make the hairs on the back of your neck stand up.
And they achieved just that with the Chorus of Hebrew Slaves from Nabucco and the final act of I Lombardi.
Musical director Eifion Thomas loves his Verdi. And Llanelli loves its rich choral tradition. On the evidence of this, it will continue to thrive long into the future.
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