The performance, titled "Perpetual Light: The Requiems of Mozart and Duruflé," was the second in DCINY's tenth-anniversary year, which is playing on the concept of light in a couple of its 20 programs.
As I wrote in this post about singing in DCINY's "Messiah," the company invites choirs from around the world to perform in New York, maintains a regular orchestra and engages soloists.
At "Perpetual Light," the 250+ singers on stage came from 20 choirs (U.S., Canada, Germany, the Netherlands, U.K.). Many family members were in attendance, buoyant with pleasure at seeing a relative onstage in the glamorous venue.At intermission, I met two ladies from Louisiana, there to support an 87-year-old mother-in-law. The program listed the First United Methodist Church Chancel Choir from Lake Charles, La., which also had a 92-year-old member in the concert, the ladies said.
A young man named Chaz Adams, from San Francisco, was there for his mom, Ingrid Gosney of Kalama, Wash., not too far from Portland, Ore. (Portland Choir). For her, performing at Carnegie Hall was "a dream come true," he said.
The invited choir members support the concert financially. To its credit, DCINY staff maintain a professional but warm atmosphere while handling 3,500-4,500 singers a year. You could call it a family.
The real bottom line lies in this question: is the music of high quality? The answer, with a couple of qualifications, is "yes."
DCINY supports and enhances its amateur singers with solidly professional conductors, orchestra musicians (especially concertmaster Jorge Ávila) and soloists. If my experience in December is any guide, the choirs generally have been working on the music at home for weeks before coming together to rehearse in New York for a couple of days before the concert.
For me, the Mozart Requiem towers above all others in its high drama and emotion. There is not much going gently into that good night in the work that Mozart was composing even on his death bed.
Maestro James M. Meaders set an exciting pace in the "Dies irae" ("day of wrath") and brought out the lovely melodic line in the "Hostias" section. Soloists Maribeth Crawford (soprano), Ceclia Stearman (mezzo-soprano), Shawn Mlynek (tenor) and Patton Rice (bass) navigated their parts expertly, but Crawford projected most fully into the hall.
The choir sang with real feeling, but often the precision wasn't quite there that exists when a group sings together regularly, and it seems the singers gave way to the temptation to blast. I recall from my experience that maintaining piano and varying the dynamics, according to the conductor's rehearsal instructions, sometimes was forgotten in the excitement of the moment.
However, the singers really seemed to gel in the Duruflé, conducted by Jean-Sébastien Vallée, with its echoes of Gregorian chant. Stearman really shone in a sublime "Pie Jesu," scored for accompanying solo cello and organ, and the soprano section stood out in the "In Paradisum."
One advantage of these family events is the presence of young people in the audience, and (a few) in the choir. A girl, perhaps 15, sat in front of me, intently absorbing the music. Across the aisle sat one girl with blue hair and another with fuschia hair. It may not be explicitly stated in DCINY's mission, but the "parent" organization is also raising the classical music children of the future.
