Bel a cappella | O Sing!
29 March, 2025, St Augustine’s Church, Balmain, NSW
“O Sing!” – This is what Bel a cappella do – they have been doing it for 30 years, and they do it very well. They did it again with exuberant joy in this beautifully curated program dedicated to the joys of choral singing.
The concert started with a polished performance of Christopher Sainsbury’s Upon a high rock platform, which they sing before every concert as an Acknowledgement of Country. Their conductor, Monica Buckland, then introduced the program. It was to be in 3 sections – the first one religious, the second one secular and the third about other types of singing – the birds, the frogs, the wind………..
They began with Schütz’s Singet dem Herrn ein neues Lied (sing to the Lord a new song). This Psalm (#98) was set in typical 17th century style, full of interesting movement of parts, with tenors and basses occasionally shining though, followed by the female voices to end in joyful praise.
Byrd’s setting of Psalm 81, Sing Joyfully was sung joyfully indeed, with the interlacing strands of music woven together in expert fashion.
The monumental Singet dem Herrn ein neues Lied, by Bach, was based on several psalms singing praises to God. The style was typical of Bach and performed beautifully by Bel a cappella, with the word “sing” echoing around the choir and the whole church. Towards the end they were almost dancing to the rhythm of the final verse.
After a short break, Monica came on stage alone. A lone soprano, Katrina Jenns walked in and eventually began How can I keep from singing by Anne Cawrse. She was gradually joined by other singers advancing from different regions of the church and singing ethereal harmonies. The effect was mysterious and magical! Some of the verses were intentionally chaotic and some were enhanced with “la la la “, reminiscent of Renaissance madrigals. This piece had been commissioned for the 30th anniversary of the Adelaide Chamber singers in 2015. Now, 10 years later, it was sung by Bel a cappella on their 30th anniversary.
This was followed by a short and sweet love song by Finzi, My spirit sang all day, ending with the words “Thou art my joy”.
Another contemporary Australian work commissioned in 2015 was performed after this: Sally Greenaway’s Resonance. Bel a cappella lovingly performed the wonderfully subtle harmonies that reflected the words by lyricist, Kirsten Duncan… “A sound begins deep inside” ending with “The splendour of harmony and voices combine./ The universal joy,/The power of song”.
Song of Joys by Nick Omiccioli was another contemporary song in praise of singing. This dynamic song was enthusiastically performed with unusual harmonies in contrasting sound levels to express “the most jubilant song of joy”.
The third section began with a late Romantic piece by Rheinberger – Morgen Lied (Morning Song). This song about daybreak, written in a typical German style, describes the nightingale singing the praises of the Lord as the day breaks.
More sounds of nature appeared in the contemporary song, Rainforest by Luke Byrne. The choir introduced different species in the rainforest with rhythmic chanting behind other choristers singing, emulating the sounds of the rainforest. There was gentle blowing and whistling, sounding like the wind. The ending was eerie and unsettling with the implication that all things must end.
The sound of the wind was portrayed in late Romantic style in Brahms’ Es geht ein Wehen – about the bride of the wind sweeping through the forest seeking her lover. The choir sang beautiful eerie harmonies.
The last piece was Nachtreigen by Fanny Hensel (née Mendelssohn) set to a poem by Wilhelm Hensel for his bride to be. It depicts the secret nocturnal meeting in the forest between the lovers, which were represented by the women singing separately in serene harmonies, interspersed with a lusty male chorus, singing “Hallo, hallo”. They then united to sing the last verse in a joyfully floating fugue.
It was a wonderfully positive way to end the concert. The cloisters of St. Augustine’s echoed with the appealing voices of Bel a cappella followed by the resounding applause that was well deserved!
Sketches by the reviewer: Heidi Hereth
