Polovtsian Dances - Borodin
Stabat - MaterDvorak
The two works that Dublin County Choir chose for their 25th anniversary concert at the NCH on Sunday made an interesting contrast.
Borodin's Polovtsian Dances, which seem to be finding increasing favour with choral societies, are tunefully extrovert.
Dvorak's Stabat Mater, written at a time of tragedy in the composer's life, and the cause of a great fillip to his international career, is a stirring statement that seems to have become unduly neglected.
Conductor Colin Block took a racy view of the Borodin, as if the music needed to be tilted into a downhill slide. The choir rose to the challenge with open tone and eager enthusiasm, the occasional thinness among the tenors seeming a small price to pay for the general freshness of the singing.
Block's approach to the Dvorβk was much more solidly based. His tendency to press ahead rather than let the music breathe didn't disappear entirely, but the music making had fibre, and the choir's contributions seemed always purposeful and pointed.
His team of soloists worked rewardingly well together. Soprano Mary Callan Clarke sounded effortless above the stave, and paid musicianly attention to the composer's softer dynamic markings. Contralto Edel O'Brien sang with strong presence and fervent projection.
Tenor Eugene O'Hagan showed a tendency to approach too many notes with an upward scoop, but his tone was pleasing, his delivery clear. And bass Frank O'Brien made his contributions without fuss or forcing.
