A NIGHT AT THE OPERA IN REVIEW

Thursday 25th March 2021
Hawthorn Town Hall

It had been 466 long days since the Australian Boys Choral Institute’s last concert. While arts’ venues have remained silent, days have been filled singing online, singing about the house, and even singing in the shower.

For an audience starved of live music – and performers equally deprived of performance opportunities – A Night at the Opera was easily one of the most eagerly-anticipated Vocal Consort soirées. And it didn’t just break the 12-month performance drought and provide an opportunity to polish up the opera glasses; it delivered a satisfying salve to remind both audience and performers just how good live music, masterfully prepared and presented, can be.

Featuring The Vocal Consort, rising-star baritone Stephen Marsh and international pianist Andrea Katz ably supported by the Australian Boys Choir, A Night at the Opera showcased sweeping scenes and rousing choruses from some of the world’s most-loved operas, all masterfully prepared and presented.

Opening with Charles Gounod’s Soldier’s Chorus from Faust, The Vocal Consort made it clear their renowned wit, sparkle, and precision, and their reputation as one of Australia’s most outstanding male vocal ensembles, were all still firmly intact despite the enforced hiatus.

Responding to Andrea Katz’s nuanced delivery, The Vocal Consort were easily able to meld with Stephen Marsh’s burnished vocals in the opening scene from Bizet’s ever-popular Carmen.

It was then the Choir’s turn to grace the stage in a second turn from Carmen, performing The Street Urchins’ Chorus, with aplomb. Soloists from the Choir appeared later in the program in Engelbert Humperdinck’s Evening Prayer from Hänsel and Gretel and a trio from The Magic Flute, the latter highlighting the sublime tenor voice of Consort’s Anish Nair.

Marsh’s stirring rendition of The Toreadors’ Song alongside Katz’s dazzlingly energetic accompaniment was, without doubt, one of the evening’s highlights. Another was the return of TVC to the stage, with all among their ranks being former members of the Australian Boys Choir.

In both Beethoven’s Prisoner’s Chorus and Wagner’s Pilgrim’s Chorus, The Vocal Consort demonstrated what it is possible to achieve in ensemble singing at the very highest level – an effortless blend and a unanimous approach; a pleasure to hear and behold.

Also view the terrific video reel of highlights from this concert, or click through to view behind the scenes photographs.