Vienna Boys’ Choir

Press, 11 July 1983, Page 8

Vienna Boys’ Choir

The Vienna Boys’ Choir, conducted by Josef Doeller, at the Town Hall Auditorium, July 9, 8 p.m. Reviewed by Philip Norman. On to the stage the 24 choirboys marched, all dressed in the famous black and white sailor suits, all looking confident, relaxed, and ready for business. On strides the conductor, a quick bow, another quick bow, notes from the piano are given and with no music in sight the Vienna Boys’ Choir launches into a powerful performance of Jacobus Gallus’s “Repleti Sunt.” A quick bow, another quick bow, a perfectly executed change in formation and the next piece begins: thus the pattern for much of the Vienna Boys’ Choir concert was established. What is most immediately apparent is the discipline of the group, both in music and in appearance. The choirboys are thoroughly drilled for the requirements of topclass performance, yet it is a .discipline that allows > thetf. delight in singing to '1

shine clearly through. The sound of the choir is impressive. It is big, fullbodied, and tightly controlled; mature far beyond the tender years of the singers. Great attention is given to articulation, with the attack on consonants at beginnings of phrases such as in Giovanni da Groce’s "Cantate Domino” being spectacular for its explosive power. The programme presented by the choir was a mixed one, with, not surprisingly, a bias towards the music of Viennese comKsers. Mozart (“Laudate tminum”), Brahms (“The Bridegroom”), Johann Strauss (various), and Schubert (“Ellen’s Second Song”) were all represented. Schubert was once a member of the choir. The centrepiece of the programme was a costumed and acted performance of “Stories from Old Vienna," a musical comedy with melodies by Johann Strauss. In this, the choirboys i showed themselves to be f completely at home with

the operatic medium. They moved fluently, drew accurate and often amusing characterisations, gestured confidently, and spoke — in English — clearly and precisely. The inclusion of the musical comedy made for an excellent and appreciated contrast to the concert programme. The polish of the performance confirmed that the musical education offered the singers is rounded and comulete. The one sour note of the evening came in the encores. In a well-intentioned tribute to the host country, the Vienna Boys’ Choir sang “Pokare Kare Ana” (with excellent pronunciation) and “Now is the Hour.” The sight and sound of this was enough to make one cringe with embarrassment. Are these pieces really all New Zealand has to offer as distinctive, internationally recognised music? Apart from this, which was no slight on the choir, the concert was an unqualified success. The ovation offered. at the end was mostly one.