Kingston Choral Society Concert, Kingston Parish Church

As everyone tightens their purse strings it was heartening to see an almost full Kingston Parish Church as Kingston Choral Society continued in their 60th anniversary year with a concert of Fauré Requiem, Elgar Serenade for Strings and Haydn Nelson Mass. This, their second concert under their new Music Director, Graham Ross, showed what a difference this young and dynamic conductor has already made to this choral society as they gave some of the best singing that I have heard from them in many years.

The programme opened with the Fauré performed here in the chamber version with solo violin obbligato, said to have been Fauré’s preferred arrangement. The choir began a little tentatively but gained in confidence in the Kyrie and under Ross’ secure baton and excellent tempi they gave an enjoyable performance despite moments of wayward intonation from the sopranos. Philip Tebb was the baritone soloist and deserves a mention for his beautiful singing throughout the Hostias and Libera Me sections. His diction was excellent which helped in his communication of the text with the audience.

Elgar’s Serenade for Strings was written in May 1892 as an anniversary present for his wife and this performance by the strings of the Thames Sinfonia accentuated all of the warmth of emotion that Elgar must have envisaged when composing this piece. The lower strings were particularly impressive with a rich, velvety tone over which the upper strings floated effortlessly giving a beautiful ensemble sound and resulting in a polished performance.

However, the highlight of the evening was unquestionably Haydn’s Nelson Mass. Graham Ross’ precise and energetic direction was in evidence again and all sections of the choir sang with confidence and enthusiasm throughout supported by assured orchestral playing. The soprano soloist, Elizabeth Weisberg, has a strong and vibrant voice which suited the demands of the testing soprano part and she was matched with strong performances from the other soloists, Hanna Hipp (mezzo-soprano), Daniel Joy (tenor) and Philip Tebb (bass), which was particularly effective in the quartets in the Benedictus and Agnus Dei. The final choral fugue, Dona Nobis Pacem, was sung with great energy and precision and finished the concert on an uplifting note!

Helen Jones