If Mendelssohn had chosen to write operas, Elijah would have been a highly successful debut composition.
For this is a work which combines high drama with all the operatic ingredients of rejection, intrigue and final triumph. It's a piece which is highly colourful, full of moments of intense emotion and choral interventions which would be far more at home on the stage of a theatre than as part of a sacred oratorio.
And if triumph was a word to be associated with Elijah, the performance by Chester Music Society Choir with Liverpool Sinfonia was certainly that, judging from both an impeccable performance and the rapturous and enthusiastic applause which echoed round a freezing Chester Cathedral.
Graham Jordan Ellis conducted a fast-paced performance in which the chorus lived up to its increasingly formidable reputation. They negotiated the tricky fugal passages, in choruses such as Be Not Afraid, with ease. The fortissimo drama, such as in the final chorus, presented no problems, while the delicacy of the familiar Lift Thine Eyes was exquisite.
It was interesting to note that the four principal soloists all have extensive experience on the operatic stage which, in many ways, added to the performance, especially the extremes of mood which the composer calls for.
Bass Simon Kirkbride, singing Elijah, was dramatic and fitted the role perfectly. Of particular note was his performance of It Is Enough. Icily detached and introverted in a sorrowful way.
Much the same was true of tenor Philip O'Brien, though his rather piercing voice did not always blend with colleagues, notably in Cast Thy Burden Upon The Lord. Yet his performance of If With All Thy Hearts was exquisite.
The roles demanded of soprano Una Barry and mezzo Louise Mott were achieved with ease, and treble Marco Galvani, singing a small role as the youth, should not be forgotten.
The accompaniment of Liverpool Sinfonia, along with the enthusiasm of the chorus, made this yet another triumphant night for Chester Music Society Choir.
Glyn Mon Hughes, Liverpool Daily Post
It was indeed heartening that two contrasting works by living British Composers attracted a near capacity audience in Chester Cathedral.
Chester Music Society coupled Karl Jenkins' composition "The Armed Man" with the rather less well known "Mirror of Perfection" by Richard Blackford, which opened the concert. A setting of poems by St. Francis of Assisi expressing his delight in Creation, this proved to be a work which was poignant and evocative, uplifting and inspired.
Conductor Graham Jordan Ellis vividly brought the music to life and his enthusiasm for the work was most vividly communicated to performers and audience alike. Scored for a mixed choir accompanied by strings and horns, this was a persuasive performance that was cohesive, committed and confident. Soprano Rebecca Ryan displayed a rich and subtle variety of colour, soaring effortlessly above a rich and sonorous string accompaniment and baritone Adrian Powter, replacing an indisposed Andrew Rupp, sang with authoritative command. The choir of Chester Music Society sang with energy and assurance, nimbly negotiating the tricky cross-rhythms in the third movement and the Youth Choir produced moments of real beauty in their secure accompaniment to the baritone soloist in the Canticle of the Birds.
Karl Jenkins "The Armed Man" is rather more well-trodden ground, sometimes criticised for being repetitive and a little trite. However such criticisms were swept aside by the choir's readily apparent involvement in the music.
The Liverpool Sinfonia, meticulously led by Margaret Duffy, provided an accompaniment which was colourful and on occasion strikingly beautiful. Particular mention must be made of a percussion section both accurate and enthusiastic in their contribution and of the blend achieved by the tenors and basses in the fourth movement. Conductor, choir and orchestra joined to produce a passionate reading of the Kipling "Hymn before Action" which was another highlight in a most enjoyable evening.
Michael Peters
For a large choral society to perform a work such as Finzi's hugely moving and introspective Lo, the Full, Final Sacrifice might have been risky. The same could be said of Britten's Rejoice in the Lamb. They are works ideally suited to smaller choirs, as they have intricate part-work and a lot of highly tricky phrasing.
Yet the choir, under the expert direction of Graham Jordan-Ellis, was extremely well prepared. Their diction was excellent and phrasing rounded and polished and there were some superb unison moments with Graham Jordan-Ellis showing excellent control right through the piece.
The same was true of the Britten, a fast-moving piece which makes considerable demands on the choir. There were a number of magical moments, especially the section "For I am under the same accusation with my Saviour."
The performance of Stainer's warhorse The Crucifixion was another work to remember.
Again, the chorus was expertly prepared and the baritone soloist - Jamie Hall - had a mature voice which suited the work perfectly. The same could be said of the tenor - Jonathan Upfold. These two voices portrayed the narrative in an effective and moving way.
Philip Rushforth's performance of Percy Whitlock's pieces from The Plymouth Suite was a controlled, excellent performance. Rushforth's registrations made this a special performance, especially the Salix, a wistful, thoughtful performance which said a lot.
Liverpool Daily Post