Waverley Singers

"Waverley Singers’ Stirring Requiem"

The following review by John Vandenberghe was printed in a local newspaper; we are not sure which!

"The Waverley Singers, with the Tilford Bach Orchestra, began a busy winter season with a stirring performance of Verdi’s Requiem at St Andrew's Garrison Church, Aldershot on Saturday. Yet again, they showed what a fine, professional-sounding body they have become under Malcolm Hicks’ expert guidance.

This superb, dramatic, work is hardly devotional in character, and owes far more to Verdi’s skill as opera composer. (Some indeed, might consider it the best opera he never wrote!) The role of the soloists is much more important than in the average choral work and their contribution is commensurately more crucial to a successful performance. Many professional performances, therefore, rely on operatically trained singers to perform what is essentially opera rather than oratorio and this can sometimes lead to ludicrous excess on the part of singers who lose sight of the fact that they are performing what is supposed to be a liturgical work.

One of the strengths of this performance was that this temptation was not succumbed to. Most of the soloists did not possess huge operatic voices and a performance more appropriate to the work’s underlying religious nature resulted.

Adrian Thompson was the sole exception. He has a thrilling but very powerful tenor voice which was occasionally a little overwhelming. This was particularly noticeable against the soprano and mezzo-soprano soloists in the initial Kyrie Eleison although, at times as in the Hostias he produced a really soft, creamy tone which was extremely beautiful.

The soprano, Eirian Davies, substituted for Janice Cairns who was indisposed. She has a good, true soprano with an excellent upper register, though the voice is a little light for some of the work’s more climactic moments. Despite this, there were many instances of radiant tone notably in the Domine Jesu Christe and Sanctus.

Margaret Maguire’s attractive mezzo-soprano blended well with Eirian Davies and their sensitive approach to the Recordare demonstrated the effectiveness of a lighter, more sensitive interpretation. The mezzo was curiously underpowered in her duet with soprano in the Agnus Dei, but was touchingly effective in the following Lux Aeterna.

Brindley Sherratt’s impressive bass was very even throughout the entire vocal register and suitably sepulchral at the bottom. One felt only that he needed to inject a little more intensity and urgency to the work’s more impassioned moments.

The choir sang superbly throughout, setting the scene in the opening Requiem Aeternam with admirable resignation. The Dies Irae was suitably awesome and demonstrated again how clearly the Garrison Church’s acoustic can deal with the largest volume of sound.

The Sanctus was delightful with soprano showing the lightness and agility which has become a hallmark of the Waverleys' sound. In the final Libera Me, tenors and basses performed with great warmth, the choir providing excellent accompaniment to the dramatic interjection of the soprano soloist.

The Tilford Bach Orchestra were reliable as ever with impressive brass and wind, the string playing being only slightly marred by an intonation lapse in the Domine Jesu Christe. Malcolm Hicks conducted with his usual enthusiasm and panache.