Like welcome spring sunshine in mid-March, the Elmer Iseler Singers delighted the audience during their performance in Prince George. Directed by Dr. Lydia Adams, the 20-voice choir delivered a program of music spanning the centuries and crossing a variety of musical forms.
They opened with mid-19th century motets composed by Mendelssohn for the Berlin Cathedral Choir, each representing high holidays in the church year. The choir sang in German, as originally written and performed. Addressing the full auditorium, Dr. Adams then introduced a serenade, Standchen, by Schubert. She noted that the performance was being dedicated to the memory of Canadian operatic contralto, Maureen Forrester. Andrea Ludwig's beautiful voice conveyed appropriate emotion singing the playful lyrics about a young man's entreaty to his beloved.
One of the truly beautiful pieces presented in this program, Silent Dawn, is a composition by Timothy Corlis. The composer's intent was to convey the sensation experienced witnessing a winter morning just before sunrise. The words and music create that sense of stillness and inspire the audience to feel the sense of viewing an ethereal sky. The Elmer Iseler Singers performed the piece as one would imagine the composer could wish--with an encompassing sense of peacefulness and calm.
For a Lenten concert, the choice of three much-loved hymns seemed especially appropriate. "Abide With Me" is so comforting and the choir made it seem even more uplifting in this performance. "Precious Lord" delivered the powerful sentiment its music and lyrics command. "Amazing Grace" - well established as a universally-liked hymn, became an even more heartfelt prayer as delivered by the choir voices.
With quite a number of Gaelic speakers in the audience, the Celtic Suite part of the program was especially appreciated. Seven traditional Celtic songs were ably performed by solists Mitchell Pady (a strong, assuring voice) and Alison Roy whose beautiful soprano notes lifted high over those of the choir.
More special Canadian content was provided with Derek Healey's compositions based on singing techniques and building on images and sounds associated with aboriginal culture. The result was an unusual, seemingly discordant sound which layered and built and then stopped abruptly. Such music represents a distinct departure from the song styling associated with the more familiar European music. It was an opportunity for the choir to stretch in vocal range. Although appreciated, this music seemed tentatively received by the audience. Soloist Nelson Lohnes sang backed by the choir in a chant of shifting tones.
A truly original presentation was the female voices performing a native gathering song. Their singing was accompanied by forest sounds for background. These were created by the other choir voices from positions around the auditorium...very realistic and convincing of sounds associated with a variety of birds and other creatures.
A similar technique was used in performing "Toute Passe" - a song meant to represent the Acadian experience. The accompanying sounds were intended to represent the sounds Acadians would have heard as they were being loaded onto ships preparing to sail away during the Great Expulsion of 1755 to 1763.
While visiting Prince George, the Elmer Iseler Singers worked with seven Prince George choirs. At concert's end, members of those choirs were invited to come onto what became a very full stage. Together, they performed Mozart's beautiful Latin hymn, "Ave Verum Corpus." They then moved into a tribute to the meaning and sentiment associated with singing in "Here's To Song" with Graham Robinson as soloist. They were beautifully supported by Maureen Nielsen, as accompanist, on piano.
The audience reacted with a heartfelt standing ovation. People appeared genuinely moved by the performance and respectful of the talent. Naturally, that reaction deserved an encore. They performed a special request, "Oh Shannon Go." A few days before the feast of St. Patrick, it seemed a sentimental tribute.
