A packed Perth Concert Hall was rewarded with brilliant performances by Perth Choral Society and the City of Perth Sinfonia under the inspiring leadership of conductor Peter Rutterford.

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The super startling start of Bernstein’s Chichester Psalms awakened the audience’s interest immediately. Then the Awake Psaltery and Harp movement moved into a joyous, syncopated Allegro. The Bernstein stipulated boy treble in the second movement was most ably taken by Theo Miranda, of NYCOS, with exactly the right voice, evoking innocence - the emotional tune at its heart taken from a dropped chorus from West Side Story. The warlike interruption was most effectively started by the men of Perth Choral Society. Finally, an anguished start with mourning trumpet from the City of Perth Sinfonia was countered by the Choir with calming warmth. A plangent solo cello, Jeremy Fletcher, led to the Chorus in a song of hope, gently ending this excellent performance.

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If anything Carl Orff’s Carmina Burana was even better. Under Peter Rutterford’s clearly telegraphed direction it was a performance of colourful vigour. The energy and precision of the percussion department contributed a highlight throughout. Superb, too, was the diction of Perth Choral Society. After the ubiquitous opening O Fortuna, the men, rhythmically well-drilled, complained of their ill-fortune, followed by a calming interlude, then the first appearance of bass soloist Jerome Knox, who throughout put expression into the Latin, later acting drunk and furious. Perth Choral gave verve to the lighter, more dance-like movements. At the end of the first part an alto of the choir had fainted, but happily was seen again at the final curtain.

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After the angry bass (and boisterous drinking, joined by the ‘monks’ of the choir), David Douglas, tenor, appeared, in white dinner jacket with a feathered shoulder cape, as the Roasted Swan mourning his fate. Radiant soprano Emily Mitchell led the boys and girls of Craigclowan Choir and NYCOS Boys (Perth) in the love-music sections. Becoming more explicit, a final repeat of O Fortuna, slightly more monumental, ended what had been a most rewarding, exciting performance, applauded to the rafters by the full hall.

 

Ian Stuart Hunter