Clive Paget | March 21, 2016
There’s no doubt that Richard Gill is a very good thing, and not just for Sydney Chamber Choir. His debut concert not only offered a smart piece of programming allowing two contrasting views of the medieval – one authentic, one seen through 20th-century eyes – but he also managed to commission three young Australian composers into the bargain, enlist the aid of 70 highly impressive young singers from schools across New South Wales, and all the while inspiring his crack choir to pull off a pair of fine performances of music by Guillaume Machaut and Carl Orff.
Steve Moffatt | March 21, 2016
WORKS by two musical revolutionaries opened Sydney Chamber Choir’s new season under the leadership of popular conductor and educator Richard Gill.
The program set Guillaume de Machaut’s 14th century Messe de Notre Dame, one of the earliest examples of polyphonic or multi-part sacred music, alongside Carl Orff’s Carmina Burana, a celebration of the sacred and very profane.
Toni Adams | 21 March, 2016
The Sydney Chamber Choir delivered its first concert under the direction of Richard Gill OAM to an enthusiastic audience. Richard Gill needs no introduction as his contributions to music and especially music education are well known. The choir was in beautiful voice and the program was a wonderful mix of the very old, the very new and the in-between.
Michelle Imison | 21 March, 2016
In recent years the reach of the Sydney Chamber Choir’s annual concert series has become increasingly ambitious. Having earlier in its history tended to perform in smaller venues it has lately begun to give at least one concert each year in the City Recital Hall and, in 2016, all three of its regular concerts will be at the Angel Place venue.
For its first outing of the year Carl Orff’s perennial favourite Carmina Burana was the guarantor of audience interest, and in this respect it was cleverly paired with a work many listeners would likely not have otherwise encountered: the fourteenth-century Messe de Notre Dame by Guillaume de Machaut. In keeping with the explicit mathematical fascinations of composers at that time, the work features some fantastically intricate rhythms, but the choir’s interpretation was light and precise throughout.