Subdued Programming, Soaring Soloist Illuminate Greenwich Choral Society Christmas Concert

By Linda Phillips.

Anchored by the magnificent “Magnificat” of John Rutter, and graced by the voice of mezzo-soprano Kimberly Sogioka, the always anticipated Christmas Concert of The Greenwich Choral Society was titled “Christmas Magic”, and the audience at Christ Church Greenwich was again transported by the choir’s entry with handbells and candles, singing the tender and lovely “Jesus, Jesus Rest Your Head,” a traditional Appalachian Melody. The opening ritual never fails to move and transport listeners to the season.

Selected by Conductor Paul Mueller, this year’s program included traditional carols, an audience sing along, and with works that were spiritual, secular, and somewhat sacred (nothing liturgical), but several of them inspired by Biblical passages. Informed by a large orchestra, some of the pieces had a Broadway sound to them, particularly the opening of the Magnificat, with tambourines and a jazzy percussion.

Blest Pair of Sirens, a traditional choral piece by C. Hubert H. Parry based on works of John Milton and a radiant setting of John Milton’s ode, “At a Solemn Musick,” describing the rapture of voice and verse, featured a full orchestral sound with a swelling chorus, followed by the lilting melody Balulalow, sung by chorus and the lovely voice of soloist Sogioka.

The interestingly scored Magnificat, sung in Latin, began with tambourines and percussion followed by strings, female voices joining, then male in the very contemporary work, a swelling exultation. With an arresting time signature and some slight syncopation, the opening section was dramatic, exultant and gorgeous.

Of a Rose changed the mood utterly, and was gentle, thoughtful, tender and moving. Sanctus, Sanctus was assertive and bombastic, then going quiet, altos singing with the woodwinds, leading to a soprano passage. Et Miseracordia, in triple meter, the entire chorus rising, was followed by Fecit Potentium, begun in low basses and woodwinds, and featuring percussive kicks, and Enturientsis, which was both contemporary and traditional at once, something composer Rutter does so well. Beautiful and moving, woodwinds lent their sorrow above a heavenly harp. The entire magnificent chorus rose for Gloria, a triumphal paean.

Followed by Still, Still, Still, a lovely carol, and The Many Moods of Christmas, Suite II, the audience was invited to again sing Joy to the World, followed by Away in a Manger. Fum Fum Fum, March of the Kings and Jingle Bells, traditional and ebullient, were somehow performed without the audience’s help.

The chorus, orchestra, soloist, and Conductor Mueller were given a standing ovation.

While the music selected for the Christmas concerts is always a revelation, in past years the Christmas music of other countries and cultures was often introduced, giving an exotic tang to the program, with international and even non-denominational carols and folk songs included. One year’s Christmas program was titled “Weihnachten” (Christmas) and featured German music focused on the most wondrous event of Christianity. Previously, concertgoers were treated to a reception after the performance. This year’s concert was very English and American, and while pleasing to the audience, and well performed by chorus, orchestra and soloists, lacked some cultural dimension.