Memorable moments in Perth Choral concert

French music made up Perth Choral Society’s rewarding concert in St John’s Kirk on April 2.

It contained music that flattered the ear and under the direction of their conductor Peter Rutterford, was performed well, further discovering impressive worth in a piece hardly known.

The first half was given over to Gounod’s melodious and operatic Messe solenelle de Sainte Cécile, Saint Cecilia being the patron saint of music. From their first notes Perth Choral’s enjoyment was clear.

All three soloists, Joanna Foote, soprano, Andrew Dickinson, tenor, and Ross McIlroy, bass, showed clear blend and an equal commitment.

Joanna Foote had a radiant high line in the restrained Gloria. Laudamus Te from the chorus had energy and jollity. The cello and oboe of the City of Perth Sinfonia showed fine style in Domine filii, before a cracking return to the Laudamus.

The Sinfonia shone in the Offertoire, strings, oboe and bassoon. Tenor Andrew Dickinson had strongly operatic lines in both the Sanctus, where the chorus too built magnificently, and in the gentle swing of the Agnus Dei.

A fine ending came in the threefold hymn Domine Salvum Fac, changed to demands of Lord save the Queen surrounding a charming pipe and drum prayer for the army.

Widor’s famous Toccata had an added choral part as Festival Alleluias. Though well done, I have to say this didn’t work for me, with its dull, mostly block, repetitious choral part.

I would far rather have just heard the organ on its own as excellently played by Andrew Forbes.

Discovery and a real find came with Saint-Saëns Requiem Op54. Peter Rutterford and Perth Choral’s performance showed it as an impressive, serious work.

Starting with anguish from the City of Perth Sinfonia, the orchestra was most inventively used throughout.

Saint-Saëns added the mellifluous alto, here Laura Kelly, to the soloists, who started, asking calmly for peace.

In the Dies Irae choir and soloists alternated, the plainchant surfacing in the orchestra. The Tuba Mirum with organ and brass had full and effective sound.

In all eight movements of this work Perth Choral and the soloists brought out many memorable moments. In this work the tenor was a little unrelievedly stentorian.

The abiding memories of this concert are a well rehearsed group singing impressive works with enthusiasm, and as a bonus, the Saint-Saëns was a genuine discovery.