Cellos sing but not like Diaz

YESTERDAY afternoon was wet and grey in the city but Marama Hall was filled with beautiful sound when the Cellists of Otago (a ninemember ensemble) and Auckland countertenor Stephen Diaz presented a programme titled Singing Cellos.

Cello ensembles are sometimes referred to as ‘‘cello choirs’’ and the instrument’s single melodic lines certainly revealed vocal quality and acceptable accompanying passages, but it was the unique vocal delivery of Diaz’s pure resonant tones across a broad register that stole the show yesterday. The programme comprised arrangements of wellknown repertoire accentuating the accompanying capabilities of cello with countertenor soloist.

The overture from Tannhauser, by Wagner, created a deeptone, rather sombre opening, but the mood immediately brightened with an arrangement for cellos of Handel’s Hallelujah chorus. This led into a dramatic recitative and aria, with Diaz, of the popular Handel aria Ombra mai fu, demonstrating the beauty and resonance of a countertenor voice with such controlled and relaxed technical delivery.

A highlight was Andrew Lloyd Webber’s Pie Jesu, where Diaz was partnered by cello (Heleen du Plessis, director of the ensemble). The same vocal sensitivity came with Requiem, by Faure, also with passionate solo cello enhancement.

I felt the arrangement (Adams) of Rachmaninov’s Vocalise for cello quartet lost much of its splendour in the lower register, but immediately following, Bring Him Home (Schonberg arr. Newall), with Diaz and cellos, lifted the recital, and indeed prolonged applause brought a return for an encore.

Among other items were two Maori songs, including an impassioned version of How Great Thou Art, when again the ‘‘voice’’ amazed with technical skills and exquisite tone.

The concert was extremely well attended, with proceeds going to support the development of cello education at all levels in Dunedin and the region.