The University Chorale filled Trinity Chapel on Newton Campus with the sounds of two different settings of the Catholic Magnificat on Friday night. The performance, dedicated to the late Rev. J. Robert Barth, S.J., featured arrangements by John Rutter and Antonio Vivaldi.
The chorale, lead by John Finney in his 13th year as director, started off with the Vivaldi piece, which is from the Baroque era. It was composed of nine movements, each of which explored a line of the Latin Magnificat, or Canticle of Mary. When the Virgin Mary discovered that Elizabeth, her cousin, had also been blessed with child, she responded with the lines that inspired both of these pieces of music. Vivaldi's piece was a more traditional, church-like presentation of the Magnificat, which lasted less than a half hour.
It featured three soloists, soprano Eileen Walsh, A&S '08, alto Caroline Marcotte, A&S '07, and tenor Christopher Hopkins, A&S '08. Walsh and Marcotte stood out during their duet in the "Esurientes" movement, and Hopkins gave a decent performance, though he seemed a little tense.
The Vivaldi piece on the whole was well done, especially when the strings in the orchestra came in strongly to support the chorale, as in the "Fecit potentiam" movement. The sopranos were almost too loud at several points, though the "Sicut locutus" movement had its moments; the melody was passed down the line, section by section, to the baritones and basses, who then sent it back to the women. The men were stellar throughout, offering depth and resonance to the entire piece.
The pace picked up with the Rutter arrangement. He is a 20th century composer, and as such, his setting offered a far less traditional and more risky piece. It started with energy, including joyous cymbal crashes. It soon shifted to a more somber tone, which the chorale accomplished with ease.
Rutter inserted a 15th century English poem called "A Lovely Rose," a flower to which the Virgin Mary is compared. The harmonies created a very soothing feeling, backed up by the woodwinds and harp of the orchestra. The following movement, "Quia fecit mihi magna," announced itself with horns and percussion, then softened to a melody reminiscent of ancient Gregorian chant. The sopranos once again could have been softer, as it was hard to hear the rich sounds of the men.
With "Et misericordia," soprano soloist Jean Danton showed off her phenomenal skill. She has sung with both the Handel and Haydn Society and the Boston Pops Orchestra; she is currently a member of the voice faculty at Boston College. Backed up by the chorale, she sang with passion and force.
One of the best movements of the evening came with Rutter's "Fecit potentium." It began with the amazing string section of the orchestra, and was soon joined by the men, singing in a staccato style that rose to fill the chapel and then immediately quieted. Rutter brought a little jazz to his Magnificat in this movement, which the chorale obviously enjoyed singing. Finney conducted with his usual grand gestures, making sure that no one missed a cue or a crescendo. The movement then shifted to feature the organ, drums, and an almost Psycho-esque melody in the strings, which made the movement strange, but incredibly interesting.
While the entire performance was excellent, the chorale should be applauded especially for mastering this complex movement.
The "Esurientes" movement felt more traditional, as Danton and the Chorale offered what almost seemed like a lullaby. The last movement, "Gloria Patri," was beautifully done, with Danton featured. Bass instruments and voices dominated to start, the notes swelling in the acoustics of the chapel.
In what seemed to be a favorite technique of Rutter, the piece had a rapid decrescendo before building back up to incorporate the entire chorale. The final portion brought back much of the energy with which the Magnificat began, using the same melody and tempo. It was joyous and energetic, ending with the word "Amen" being passed around the Chorale before a triumphant finish.
The University Chorale put together a solid performance of two entirely different interpretations the Canticle of Mary. It showed off its range and diversity by switching between an 18th century piece and a 20th century piece, managing the shifting styles with apparent ease. It received a standing ovation from the audience, who will be sure to attend the chorale's next performance. The Christmas Concert will be Dec. 2-4 at Trinity Chapel.
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