In 1891, the Birmingham Triennial Festival proudly hosted the premiere performance of Dvorak's Requiem in the Town Hall, thus winning him a keen following.
After a suitably solemn beginning, the Birmingham Choral Union rose to the occasion with the familiar text of the Dies Irae (Day of Wrath) emerging with convincing vigour. Soprano Sarah Cotterill has a pleasing stage presence, but a somewhat disconcertingly wide vibrato which at times detracts from her clear high notes and lovely tone.
Loud repeated woodwind chord sequences plus grumbling organ undertones were not checked by conductor Colin Baines, thus overwhelming solo efforts.
Tenor Mitesh Khatri seemed disappointingly unmoved, a lovely voice but little connection with his listeners. However soloist Claire Barnett –Jones was a total delight with rich contralto voice and commitment throughout. Soloists gelled with Edward D’Arcy Hatton’s contribution as a splendid bass baritone.
This new concert venue is an interesting space, but one thought longingly of the more suitable Town Hall and would have wished for a larger chorus for better balance.
Worrying woodwind intonation in certain tutti passages was thankfully offset by lovely cor anglais and lugubrious bass clarinet. One realises that a single afternoon rehearsal has to encompass many facets for a fine performance, but certain connecting string passages were embarrassingly messy and under professional standards.
More guts needed from the chorus in Confutatis Maledictis, but offset eventually by magnificently passionate Hosannas in spite of crude, insensitive fortissimo blasts from the chamber organ.
