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Concerts
On this page you can details of our Season's programme, a summary of our forthcoming concerts and some reviews. A link to our growing Past events page is provided at the bottom to take you to old programmes and pictures. Programme
Forthcoming Concerts
Reviews and Audience Comments Saturday 16th October 2016 at - De Montfort Hall - Elgar: Dream of Gerontius In a major musical event for Leicester, the Bardi’s 30th Anniversary Season opened with a landmark performance of Edward Elgar’s oratorio The Dream of Gerontius. For the first time Leicester Philharmonic Choir, Leicester Bach Choir and Leicestershire Chorale joined forces in a chorus of more than 150 voices with the Bardi Symphony Orchestra under Music Director Claus Efland to perform one of the greatest choral works in the repertoire.
Saturday 11thJune 2016 - Parry: Songs of Farewell - Dvořák: Mass in D Major
An Evening to Treasure The Leicester Bach Choir’s summer concert was notable for two things in particular: the imaginative pairing of Parry’s Songs of Farewell with Dvorak’s Mass in D major, and the sheer quality of the performers. We have become used to high standards from the Bach Choir, under the direction of Richard Laing, and this concert was no exception. The total conviction of My soul, there is a country, with its excellent dynamic contrasts and sense both of urgency and peace, set the tone for the rest of the evening. The pace was nicely varied, with good attention to detail and excellent communication with the conductor. The same was evident in the second song, I know my soul hath power to know all things, and indeed throughout the evening: this is a choir that simply loves producing a good sound, and Richard Laing clearly knows how to draw out the best in them. As with any amateur choir, the result is not perfect, but I would personally trade soulless perfection for human passion any day, linked as the latter was with such excellent word painting (particularly in Never Weather-beaten Sail), the serene confidence of There is an old belief, and the skilful handling of complex harmonies in At the round earth’s imagined corners. The best of the Parry, though, was saved for the final song, the very atmospheric Lord, let me know mine end. Here the changes of mood were reflected in the dynamics and pace, with a strong sense of anger towards God in the invocation, "take thy plague away from me" and again really effective word painting as the psalmist laments God making his beauty "to consume away, like as it were a moth fretting a garment". The tenors were suitably heartfelt in their pleas " For I am a stranger with thee….O spare me a little... " and the final well-judged ritardando brought the first half of the concert to a satisfying close with the spine-chilling words of Psalm 39v13: "before I go hence and be no more seen. " Clearly none of the audience felt the need to go hence and be no more seen, however, because there was an air of anticipation about the opening of the Dvorak Mass that boded well for the second half of the concert. The Kyrie was serene and well-sustained, with some very effective organ registration from accompanist Ivan Linford. Again, precision was the order of the day, and the Gloria was notable for the bright and exciting opening as well as the crisp clean entries on the fugal sections. The basses were particularly impressive. Some sensitive singing from tenors and basses in Qui tollis peccata was matched by the sopranos and altos, and there was a good picking up of pace afterwards for Qui sedes ad dexteram Patris, leading to a lively conclusion. The Credo was full of dramatic contrasts, from the joyful descendit de coeli to the dreamy et incarnatus est. While the tuning was slightly rocky in et homo factus est, this was well compensated for by the positively Wagnerian Crucifixus and the way you could almost feel the blood dripping during et sepultus est. After expending all this energy, the quieter Credo in spiritu sancto provided a moment of restfulness before the tenors let rip in an excellent Confiteor embellished by a triumphant full organ. Proving their versatility, the Leicester Bach Choir reined back significantly for the very disciplined Sanctus, demonstrating that something rather like a controlled explosion could be achieved in the Hosanna section. This led to a very effective diminuendo on the organ going into the Benedictus, and further proof that this is a choir that can sing a sustained piano dynamic and keep pitch. The tenors opened the concluding Agnus Dei very sensitively, and there were some long lyrical phrases before the final dona nobis pacem brought the Mass to a conclusion which can only be described as sublime. This was indeed an evening to treasure, and I shall certainly look forward to the next season. Susan Paterson, June 2016 Saturday 23rd January 2016 - Thomas Tallis - Spem in Alium 200 people came from all parts of the UK to take part in our Come & Sing, one person flying back from America the day before! Just some of the kind comments we received are below. We had a super day out and enjoyed singing Spem again! Fun morning with Christopher.. He juggled 4 choirs with ease... Looking fwd to your next event! I enjoyed the whole day, but of course the climax was the actual performance - Richard Laing did a superb job of conducting in 360 degrees with good humour throughout and inspired us with confidence. I have always wanted to sing this piece and never thought I'd get the chance to do it, so thank you very much for the opportunity. It was an unforgettable experience. Thank you so much for the opportunity to sing with you. A group of us came from Sheffield and we all loved it. I just wanted to thank you very much for making it possible to have such an amazing experience, singing wonderful music and meeting many new and interesting people. I really enjoyed the day - it was the first time I'd sung the Tallis, and it's something I will always remember. I can't thank you and the Leicester Bach Choir enough for the wonderful opportunity to sing Tallis's beautiful music. What an achievement though! All we singers making that beautiful sound - a once in a lifetime event. In the audience, my husband was just overwhelmed by it all and said that the gentleman alongside him was in tears at such a beautiful sound. I just wanted to say thank you to Richard Laing, Ivan Linford, Angela Zemlak and ALL the Leicester Bach Choir members who gave us such a wonderful memorable day yesterday. It was the best ever. Thank you to you and your choir for organising a great day. It was quite a challenging piece, but I found it a very rewarding experience, especially seeing it all coming together - and I learnt a lot! It was lovely to listen to, we heard it twice as we arrived just as you were starting the final run through. Thank you for the opportunity to take part in this. It was a great day (the organisation was excellent) and the final performance was an experience I will never forget. Saturday 28th November 2015 - JS Bach: B Minor Mass The Leicester Bach Choir excelled themselves last week with a fine performance of the Bach B minor Mass at St James the Greater. The opening Kyrie was spectacularly successful, beginning as it did with the entire choir pitching their notes perfectly from the orchestral tuning up, music copies firmly closed and totally focused on their excellent conductor, Richard Laing. The effect was stunning, and the commitment of everyone to accuracy and detail was notable throughout the evening. The whole performance demonstrated an impressive array of light and shade, dramatic contrasts which really brought the music to life. Gratias agimus tibi, for instance, was beautifully sustained with some lovely legato singing and sensitive dynamics, whereas Domine deus was very light and delicate, and the Qui tollis fantastically atmospheric, with some great orchestral playing. Full credit must be given to Richard Laing, whose attention to detail brought choir and orchestra together with a high degree of sensitivity, while excitement of Cum sancto spiritu was heightened visually by the apparently imminent prospect of the conductor physically taking off....! The pace of this would have daunted a less able choir, but Leicester's Bach Choir rose magnificently to the challenge, and the Gloria positively erupted into glorious exuberant action. Other highlights in the performance included the high quality of tone from the tenors in the Credo especially, and the evident enjoyment of the basses in the Sanctus, which was regal and magnificent, while swirls of angels were conjured up by the sopranos. In all this the choir was ably supported by the four very well-matched soloists, Katie Trethewey, Cathy Bell, Edward Goater and Angus McPhee, and fine playing by the Bach Camerata. Whilst the continuo was always pleasing, especially from the strings accompanying the Agnus Dei, the contribution of the trumpets in particular was the icing on the cake throughout the evening. The B minor Mass is an exhausting work, and just occasionally there was a slight sense of weariness leading to a momentary lapse of concentration, but such instances were rare and well compensated for by the fire and passion in a quality performance of a clearly much loved choral work. I look forward to the Bach Choir's next concert, but they have set themselves a hard act to follow. Susan Paterson Saturday 6th June 2015 - Morten Lauridsen: Lux Aeterna - Eric Whitacre:Lux Aurumque -Selection of Russian and European music Conductor: Richard Laing Organ:Ivan Linford "A fine summer evening and an uplifting programme of Russian music, and works by Lauridsen and Whitacre, not forgetting Ivan Linford playing music by Philip Glass." Saturday 28th March 2015 - The Lark Ascending and Flos Campi - Vaughan Williams, An English Mass - Herbert Howells and selection from King Richard III - William Walton Conductor: Richard Laing Violin and Viola: Shulah Oliver With Bach Camerata Leicester Bach Choir wishes to thank the Herbert Howells Trust for their generous financial support of our March concert, when the choir performed An English Mass by Herbert Howells. Howells – and so much more "Congratulations are due to the Leicester Bach Choir and their conductor Richard Laing for a superb and quintessentially English concert. It was a brave decision to put on a concert consisting of relatively obscure works: although Vaughan Williams’ The Lark Ascending has gained fame through Classic FM, his haunting and beautiful Flos Campi is much less well known, as are the topical Music from Richard III by Walton and the showpiece of the evening, Howells’ An English Mass. Those who went to concerts of more familiar music on the same night missed a treat here, as the audience at St James the Greater can testify. Although this is billed as a Bach Choir concert, first and foremost tribute must be paid to the Bach Camerata, whose beautifully sustained and sensitive playing both opened and underpinned the whole concert. The mood of innocence and yet wistfulness conjured up especially during the Walton was breathtaking. But the prize for pure magic has to go to the violin soloist Shulah Oliver, whose gorgeous depiction of the lark ascending kept the audience silent at the end for a good twenty seconds of delight as we all imagined the bird spiralling away. Shulah was no less outstanding as the viola soloist in Flos Campi, producing a tender and gentle solo after the climax of the piece, which was reminiscent of another Vaughan Williams’ masterpiece, The Oxford Elegy (perhaps another year, Bach Choir…?) . The choir made a major contribution to the atmosphere conjured up: in all this wash of emotional intensity it would be easy for it not to sound as though the piece knew where it was going, but the accuracy of the choral singing, with its excellent phrasing and attention to dynamics, carried the momentum forward and provided a sensitive backing to the solo viola with sustained quiet singing which was hugely effective. All this set the scene beautifully for the dark and brooding Kyrie that opens Howells’ An English Mass. There was so much that was good that it is hard to pick out particulars, but I was struck by the exciting Credo, the excellent bass solo by Phil Hawkins in the Sursum Corda, the sense of awe conjured up by the Sanctus and the sublime Benedictus. There was a stunning ending to the Agnus Dei and a very confident and atmospheric Gloria. The only thing that marred the performance was the strident note struck by a siren outside the church, which spoilt a highly effective solo by tenor Sam Wood at the very end. We were left wanting more, an encore sans ambulance, but we will have to wait. One thing is certain – the Leicester Bach Choir and its conductor Richard Laing know how to give a great concert." Susan Paterson Saturday 29th November 2014 - Messiah by George Frederick Handel Conductor: Richard Laing Soprano: Katie Tretheway Mezzo-Soprano: Cathy Bell Tenor: Julian Forbes Bass: James Oldfield with Bach Camerata "At the start of Advent, as we journey towards Christmas, the birthday of Jesus Christ, a performance of Handel’s Messiah is a timely reminder of the life of The Saviour; from Old Testament Prophesy through birth, miracles, death, resurrection and future return. The Leicester Bach choir were joined by the Bach Camerata and four vocal soloists in a performance which had a tight but lively feel to it right from the opening bars of the Overture. Tenor soloist, Julian Forbes gave a clear and subtle performance beginning with the aria "Comfort Ye My People". The same could be said of the other soloists’ performances, never overdone, but always clear and utterly musical. Bass soloist James Oldfield grew up in Leicester and sang with the Leicester Cathedral Choir, so it was good to have him back in Leicester for this performance. His rich tones particularly conveyed well the dark mood of "The People That Walked in Darkness". I thought the chorus sounded perhaps at their very finest in "For Unto Us a Child is Born"; really tight singing in a performance which really conveyed the joy of the birth of the Saviour of the world. Similarly "His Yoke is Easy" was vivacious and full of joy, with the sound of the chorus really filling the building with authority. Soprano Katie Trethewey’s performance in the movements immediately preceding the Chorus’ "Glory to God" seemed almost effortless, the notes beautifully floating above the sound of the orchestra.. Moving into the Part II of the work, I was particularly captivated by mezzo-soprano Cathy Bell as her performance conveyed the sorrow and hurt of "He Was Despised", perfectly, both in tone of voice and facial expression. Having commented earlier on the quality of the chorus, it is worth noting that as the concert progressed they seemed to excel themselves, " All We Like Sheep" and "He Trusted in God" seeming to have incredible energy. One of the highlights of Part II was the aria "Why do the Nations" in which James Oldfield captured the frustration and anger in an emphatic rendition. Probably the best known chorus of Messiah and possibly the most popularly acclaimed piece written by Handel, the "Hallelujah" simply rang with joy and effervesced in a rendition which surely equalled many of the finest performances. Part III was notable for the wonderfully bright trumpet solo in "The Trumpet Shall Sound", which contrasted beautifully with the bass solo. Also for the only duet in the work, mezzo–soprano and tenor balancing each other well in "O Death, Where is Thy Sting? ". Messiah concludes with the Chorus "Worthy is the Lamb; Amen"; and a more fitting performance I cannot imagine. The movement began with an engaging wall of sound, heralding bright, lively singing, the like of which had very much characterised this performance. Conductor Richard Laing had worked hard to get the emphasis that he wanted from the ensemble and chorus, both responded to produce a performance full of light and shade and with a wonderful lyrical feel to it – the music really came off the page to produce an engaging performance. The Camerata received no write up in the programme, so I suspect were an ad-hoc group of talented musicians; all the more praise-worthy as they seemed not to put a foot wrong, providing a cohesive, solid, sensitive accompaniment which perfectly balanced soloists and chorus alike! I found the performance nicely "choreographed", with standing/sitting of the choir and entry/exit of soloists nicely timed to cause as little distraction from the performance as possible. The combination of the Leicester Bach Choir and Richard Laing once again proved themselves to be a formidable force in the musical life of Leicester, bringing together their own excellent performance with that of a superb sounding ensemble and professional soloists to produce a performance of a high standard which had a real shine to it." Peter Collett Saturday 7th June 2014 - Mozart: Exsultate, Jubilate Laudate Dominum Mendelssohn: Hear My Prayer Grieg: Ave Maris Stella Hvad est du dog skjøn Blegnet, segnet Rheinberger: Stabat Mater Gjeilo: Dark Night of the Soul
April 2014 - Rutter:Gloria Purcell: Funeral Sentences for Queen Mary Parry: I was glad Ireland: Vexilla Regis Walton: Coronation Te Deum
December 2013 - Bach's Christmas Oratorio
June 2013 - Tavener, Nystedt, Ola Gjeilo, Arensky, Glinka, Tchaikovsky, Arvo Pärt.
March 2013 - Rheinberger: Mass in E flat for double choir 'Cantus Missae'
Audience Comments December 2012 - Christmas Concert with Musical Village and Elizabeth Woodville School
"I've never heard LBC sing before - it sounded wonderful! A really, really exciting sound!!" - Susan. "What a lovely concert, the children were inspiring." - Jacquie. "Tanya, the harpist, was awesome - spellbinding." - Jane. November 2012 - Handel's Israel in Egypt
"Excellent soloists and orchestra. You really could hear the flies, lice and hail stones!" . " I thought the chorus sounded great. Lots of really polished singing, even when the sopranos were in the stratosphere! Well done all!" June 2012 - Antonín Dvořák's Stabat Mater
"Flew in from America yesterday, and really enjoyed this concert on the first day of my trip." - Donna. March 2012 - Italian Baroque Concert
"A delightfully programmed concert" "The choir has moved on a lot in the last few years." "I was so glad to be able to get to the concert. I thought the programming was imaginative. The duet and solo complemented the choir singing, particularly in the solid block of the Scarlatti. It gave a well-balanced evening." Press Reviews December 2011 - Rachmaninov Vespers; Mendelssohn's Hymns - Leicester Mercury
"A clash with a performance of Handel’s Messiah just down the road seems to have done little to weaken the support for the Leicester Bach Choir’s December performance at St James the Greater Church. Claire Bartrum’s rich soprano tones opened a concert of contrasts, beginning with Felix Mendelssohn’s Hymns. Interspersed with full choir passages, the rich tones of this bright, beautiful piece reverberated in the church’s excellent acoustic. Full of energy, the choir brought the work to a joyful conclusion. Mendelssohn’s grand Sonata No 2 in C minor for organ provided a transition to the main work of the evening, with organist Ivan Linford giving a wonderfully flowing and expressive performance. Ivan made excellent use of the tonal resources of this powerful instrument. With soloists Clare Bartrum and tenor Kelvin Steele, the scene was set for Sergei Rachmaninov’s All Night Vigil; commonly known as Vespers. The bright and stunningly performed opening, O Come Let Us Worship, led into the dark-sounding Bless the Lord O My Soul. One could almost smell the incense in its atmospheric Russian Orthodox harmonies and this set the scene for the rest of the performance. The choir conveyed the complex harmonies and multiple parts with clarity and beauty. The basses deserve particular credit. Thrilling; conductor Richard Laing was in charge of a breathtaking performance." Leicester Mercury review of summer concert June 2011 "This concert of mainly 20th century French music began with Faure’s Cantique de Jean Racine. The choir interpreted the piece brilliantly, highlighting the elegant and subtle character of the music, enhanced in parts by the unique almost mesmerising quality of a young tenor in the choir.
Leicester Mercury review of St Matthew Passion, April 2011 "A truly excellent evening, all performers were utterly convincing in their individual roles and provided a moving experience ... It is hard to think of any other demanding work of such complexity that I have heard recently that has been performed so magnificently."
Review of 13.11.10 Leicester Mercury After several concerts in the warm, resonant acoustic of St. James the Greater, the Bach Choir and conductor Richard Laing were back in the much “dryer” surroundings of the Cathedral. Listening to them once again in this less forgiving space, it’s clear they are not resting on their laurels. Balance, attack and dynamic control were impressive, as was Laing’s clear and authoritative direction. We began with Holst’s exquisite setting of Psalm 86; its spare, haunting quality beautifully realised. Laing’s handling of the textures and dynamics showed his instinctive empathy with the idiom, as did his conducting of Debussy’s Danses Sacree et Profane, in which the shimmering, evanescent quality of the music was elegantly captured by soloist, Stephanie Beck and the accomplished string players. Gerald Finzi’s magically evocative “Christmas Scene”, In Terra Pax, also showed Laing’s feeling for sensitive word setting. Warm-toned baritone, Angus Mc Phee was a good choice as the narrator and 16 year-old soprano Hollie Burton showed considerable promise as the Angel. Another young soloist, counter-tenor Tim Morgan, featured in Bernstein’s Chichester Psalms. His accurate pitch, fine diction and pure tone greatly enhanced Psalm 23. The choir, singing in Hebrew, managed the work’s spiky rhythms, big tunes and lush harmonies (West Side Story goes to Church) with considerable panache. Angus McPhee excelled in Vaughan Williams’ Five Mystical Songs. His expressive phrasing of George Herbert’s immortal words and the choir’s inspired singing were a delight, despite the curious “hybrid” accompaniment of strings, organ - and piano.
Review of 12.6.10 by Neil Crutchley, Leicester Mercury The Leicester Bach Choir during Richard Laing’s time as Music Director, has become an exceptional ensemble with a distinctive musical personality and sense of purpose. That’s not to say it’s perfect – thank goodness. Musical “perfection” is often sterile. With the LBC and its inspiring conductor there’s an exhilarating sense of excitement and spontaneity – of pushing to the limits .... it’s compelling music making, full of life and spirit. The attractively varied programme of 20th century works began with an arresting account of Gerald Finzi’s uncharacteristically extrovert anthem God is gone up. Later we heard its exquisite companion pieces: My lovely one and Welcome sweet and sacred feast; both performed with expressive, affectionate phrasing and an instinctive sense of pace. Gorecki’s sensual and hypnotic Totus Tuus, couldn’t have been a greater contrast to Britten’s masterly cantata Rejoice in the Lamb. There was an appealing sense of urgency and restlessness in this performance, which captured the varying moods of the text most effectively. Excellent young soloists and brilliant organ playing from Mark Batten added to the enjoyment. A sensitive account of Ivor Gurney’s lovely song, Sleep, from bass Angus McPhee and pianist Mark Batten, was sandwiched between the gloriously rich harmonies of Cesar Cui’s radiant setting of the Magnificat and Samuel Barber’s equally lush Agnus Dei (Adagio). The concert ended with a virtuoso performance of Matyas Seiber’s highly entertaining Yugoslav Folk Songs.
Uplifting account of masterpieces John Dilleigh, Leicester Mercury 31.3.10 An evening of sumptuous choral music made up of two substantial masterpieces and two delightful smaller-scale works was presented by Leicester Bach Choir with Queens Park Sinfonia and soloists. The sparkling Magnificat is one of J S Bach's most engaging vocal works. The text is the canticle of Mary, mother of Jesus, as recounted by Luke. The wonderful celebratory Mass in C Major by Mozart was originally composed for an Easter Day service but then given the nickname "Coronation" in the mistaken belief it was intended for the anniversary of the crowning of the Virgin Mary in Salzburg. In both works the soloists were April Fredrick (soprano), Suzanna Purkis (mezzo soprano), Tim Ochala-Greenhough (tenor) and Gwion Thomas (baritone), all demonstrating style and sincerity. For the most part they displayed clear diction although at times the tenor was a little too light to be heard clearly. Conductor Richard Laing achieved balance and articulation from the impressive choir and the young orchestra were outstanding. Mendelssohn's exultant setting of Psalm 98 (Sing to the Lord a New Song) and Brahms's ravishing, rarely heard Nanie - a eulogy to his artist friend Anselm Feuerbach - fitted perfectly into a splendid and uplifting evening of music. .................................................................................................................... Psalmfest, though eclectic and easy on the ear, presents quite a challenge to performers with its ever-changing rhythms, differing styles and tricky tempo and key changes. Singers have to be alert and very well drilled to bring off these colourful psalm settings with confidence and panache. Clearly, the Bach Choir had worked hard and under the inspired direction of Richard Laing, produced an impressive performance, capturing the mood of each psalm with stylish, disciplined singing. The performance was enhanced by assured and imaginative accompaniment from organist Mark Batten. ...................................................................................................................... "Soaring harmonies and excellent dynamics were the hallmarks of a wonderful concert of European sacred music by the Leicester Bach Choir. . . . a joyous and reflective occasion.”
“Many of us think of the Leicester Bach Choir as an old friend and it was good to be part of the capacity audience for its 80th birthday celebration. [The performance] brimmed over with vitality. Richard Laing …succeeded in capturing both the grandeur and humanity of the work, with good dynamic contrasts, lively rhythmic pointing and a strong sense of drama.”
Past Events We are developing a resource of programmes and memorabilia from past concerts and events on this adjoining page.
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