Looking back, looking forward

Some organisations were worried that they could not weather the storm that was the Covid pandemic – but Cupar Choral Society have clearly bounced back from what were uncertain times with this year’s performance bettering even that of last year.

The performance of both Haydn’s ‘Nelson’ Mass and Mozart’s Requiem on 22nd April looked back and forward.

The male soloists, Peter Thomson and Jamie MacDougall are good friends yet hadn’t sung together for over 30 years, Peter is a former soloist of Cupar Choral from over 30 years ago and Elizabeth Thomson is his daughter. Joined by Nicola Wemyss, they made a balanced and blended quartet.

Haydn’s ‘Nelson’ Mass, named in honour of the sea-faring celebrity is a complex and challenging work for amateur choral societies. From the start, the excitement generated by the choir was evident with soprano Elizabeth Thomson soaring to the top notes with ease. Most of the solo parts are for the soprano and it became evident from the start what a talent this young soprano is.

As is common with most choirs nowadays, there are more women than men, yet despite this the balance in the choir was mainly good and the men played their part in projecting their voices clearly, especially in the pointing of many of the fugal passages.

The conductor, Michael Segaud held his calm as there were the few precarious moments- no mean feat in this work and the choir was well-rehearsed. By all accounts he is a likeable and popular conductor which should bring new people into the choir and keep it looking forward.

It wasn’t till the Agnus Dei that we heard a longer solo from the mezzo-soprano Nicola Wemyss; she too making clear that the future of choral singing lies in safe hands.

After a short break the Mozart Requiem started with a beautifully blended solo section between bassoon and clarinet. The acoustics of the Corn Exchange are good – not too resonant but still allowing for detail to be heard from each of the sections of the professional players accompanying the choir. The basses came into their own in the Dies Irae before the trombone solo setting the scene for the bass solo in the Tuba Mirum. This well-known bass solo requires lungs of steel as the opening phrases set the scene.

The tempi throughout both works were well set; crisp enough to keep the music tidy, but elegant enough for the phrasing to sing. A beautiful moment occurred in the ‘Confutatis Maledictus’ with some lovely colour and floated notes from the sopranos of the choir. The solo quartet blended through the ‘Benedictus’ and their fun and enjoyment was evident.

Perhaps the most touching point of the night was the spontaneous standing ovation as the soloists came back on after their initial bow. Starting at the front, it quickly spread to others in the large audience – well done to Cupar Choral. Long may you keep singing.