17th Century devotion through a 21st lens – Divisi was utterly mesmerising

Divisi Chamber Singers + Ensemble Ancien | Jonah

Oct 30, 2022, Collingwood Town Hall

One might be confused by the impressive though seemingly impenetrable façade of the Collingwood Town Hall, however a discreet ramp off to the side of the building makes the entrance fully accessible to concert goers which is always a pleasure to see on a heritage building. With craft beers and other refreshments on offer in its light filled Ballroom, along with an unusually youthful audience, this promised to be a spirited afternoon of music making.

The Divisi Chamber Singers have a growing reputation for diverse programming, performed at the highest standard and this concert did not disappoint. The choir and their associate artists, Ensemble Ancien, were attired in black without Divisi’s characteristic touch of rainbow on this occasion. The performance opened with the a cappella trio, And the Lord Said, Fiat Lux (2016) by Alice Chance. Beginning with drone and the word “darkness”, this work swells to an emphatic climax with the coming of light. The balance, pitch and diction were outstanding, and attendees knew they could settle in for a spellbinding concert to come.

The choir’s director, Alex Gorbatov, followed with the acknowledgement of country and welcome. The words “piety and passion” stood out from this introduction. The same trio performed Canon Coronato a 3 (1689) by Isabella Leonarda, a composer that is finally getting the attention deserved. Sympathetically accompanied by the ensemble, the vibrancy of the strings so perfectly matched the voices that when they emerged solo from the texture, it was almost a surprise.

As expected from Divisi, all transitions and requisite reconfigurations were elegantly choreographed with no shuffling or awkward manoeuvring. Similarly, the shift from 21st Century repertoire back to the 17th century was seamless and followed continuously into Historia di Jonas (1650) by Carissimi. To a modern audience, this biblical tale of Jonah and his calling to be God’s messenger brings into focus the conflict between free will, predestination, and divine retribution – weighty subjects. The balance was generally exceptional, the acoustics slightly favouring the upper partials. Soprano Alex Toussaint-Jackson’s sparkling voice set the scene as the first Narrator. Bailey Montgomerie was a firm and attractive Voice of God, managing the range of this part with ease. Amelia Jones’ tone was clear and flexible as the Alto Narrator. The ensemble as Narrator and Sailors negotiated the dynamic shift from declamation to pious prayer extremely well. As Jonah, Gorbatov gave a confident rendition with flexibility and style. The aria, beautifully supported by Nicholas Pollack on theorbo, was captivating. The entire ensemble was ‘in’ the performance the whole time, listening to each other and showing their investment in the story, ‘classy’ is the only word for it.

The central work in the concert was the new commission by composer Christopher Healey and librettist Rose Forrest. I’d Rather Die Than Forgive You attractively wove disparate musical styles into a sonorous tapestry. Pulsing chant, cabaret vamp, the influence of Klezma, and echoes of Old Hollywood formed a backdrop for this musically theatrical work. The magical cello ariettes were particularly memorable. The ensemble was directed from the harpsichord by Chad Kelly who heroically managed with one hand bandaged. Part songs by Monteverdi and Caccini filled out the remainder of the performance, superbly rendered.

This concert of old music and new performed with utmost attention to detail and style was utterly mesmerising.

Guest reviewer: Karen Van Spall

Karen Van Spall graduated from the Victorian College of the Arts with a Bachelor of Arts (Music) and Bachelor of Music Performance (Hons) after which she lived and worked in London. She has sung regularly as a guest artist of Opera Australia, soloist for Victorian Opera and various orchestras. Karen enjoys creating engaging musical experiences for audiences as a singer, writer or producer and occasionally all three. In 2015 she formed “The Parlour” as a vehicle to explore the potential of Art Song as a theatrical, agile and evolving genre.