Sydney Chamber Choir | Bach’s Mass in B minor
November 22, 2025, City Recital Hall, Sydney, NSW
The full-house audience at the City Recital Hall were buzzing with excitement in anticipation of the Sydney Chamber Choir performing Bach’s Mass in B minor with the Muffat Collective Orchestra and renowned soloists, Sarah Macliver (soprano), Sally-Anne Russell (alto), Andrew Goodwin (tenor) and David Greco (bass). We were not to be disappointed in this outstanding performance conducted by Sam Allchurch.
Bach’s Mass in B minor, BWV 232 represents the culmination of his life’s work. It was written over a period of 25 years and completed in 1749, a year before his death. He recycled some of his earlier melodies, integrating them within this new work with the technical perfection so typical of Bach. Although a grand Catholic Mass, it was never meant to be liturgical. It is a universal expression of the human spirit and emotions.
These qualities were brought to light in this brilliant performance, beginning with a rich, velvety Kyrie. The Christe eleison sung by Sarah Macliver and Sally-Anne Russell consisted of beautifully interwoven lines, enhanced by the rapport between the two singers.
Gloria in excelsis deo was sung joyfully by the choir, accompanied by a trumpeting orchestra of period instruments, some nearly 300 years old. The trumpets brilliantly joined in whenever there was a movement expressing sheer joy. They were almost percussive in Cum Sancto Spiritu just before the interval. There were more treasures within the Gloria: Sarah Macliver sang the technically difficult Laudamus te with expert ease; the flute accompanied her duet with tenor, Andrew Goodwin in Domine Deus. Later we were treated to David Greco’s powerful aria Quoniam tu solus sanctus.
The choir’s voices were showcased in the Credo, beginning with little accompaniment, which increased while the voices and instruments interweaved in an intricate pattern, creating a typical Bachian tapestry of sound. We were treated to another duet by Sarah Macliver and Sally-Anne Russell et in unum Dominum before the mood changed to one of delicate sadness in et incarnatus est followed by Crucifixus with heart breaking descending scales. It was almost like crying…
Then followed the joyful Et resurrexit, again with the trumpets adding their golden sound. The male voices had a starring role in this movement! It was David Greco’s beautiful bass voice that featured in Et in Spiritum Sanctum Dominum, accompanied mainly by woodwinds and cello.
The choir then sang Confiteor with the soprano voices floating high above the rest of the chorus. The effect was magical with the long chords they sang – female voices ascending and male voices descending just before Et Expecto. This triumphant movement was conducted energetically by Sam Allchurch, who used his considerable skill to harness the interweaving voices of the choir and full orchestra with trumpets and percussion in full swing!
The choir left the stage and returned in a different configuration for the Sanctus. Angelic voices combined with joyful trumpets to create a heavenly effect. Osanna in excelsis was masterfully performed with Bach’s delightful interweaving of all the different parts, both vocal and instrumental. Andrew Goodwin then sang Benedictus. There was a sweetness in this combination of tenor and flute. The wooden Baroque flute, played by Melissa Farrow, had a wonderfully mellow sound. The Osanna in excelsis returned with exuberant lightness.
Sally-Anne Russell sang the exquisite Agnus Dei – a melody reminiscent of “Ruht wohl ihr heiligen Gebeine” from Bach’s St John Passion. Her voice was superbly controlled with minimum vibrato (as were all the soloists’ voices – and those of the choir).
Dona nobis pacem followed like a prayer – the voices began softly and gradually built up as the orchestra became louder with the addition of timpani and brass. The fine musicians of the Muffat Collective Orchestra certainly brought out the emotions and beauty of Bach’s music!
After a moment’s pause, when everyone caught their breath and started returning to the real world, the audience burst into wild applause. Individual performers were cheered – they all got a standing ovation. What a great performance!
We wandered out into the city, oblivious to the rain…
Photo credit: Robert Catto
Sketches: Heidi Hereth
