Upcoming concertsSaturday 2nd March 2019
Music for voices, organ and cello 7.30pm, Buckfast Abbey This evening's concert is the culmination of our 2019 choral workshop, conducted by composer Matthew Coleridge. For concert tickets and information, click here for the Buckfast Abbey box office website. (Or, if you would like to take part in the workshop and sing in this concert, please see our Workshops page.) Sunday 14th April 2019 Jenkins Requiem & Duruflé Requiem 7.30pm, Dartington Great Hall Click here for more information and to book tickets, or call the Dartington box office on 01803 847070 (Please note that parking is now free in the evenings; you do not need to buy a ticket if arriving after 6pm) Sunday 8th December 2019 Dvorak The Spectre's Bride Tickets on sale in the autumn Sunday 26th April 2020 Vaughan Williams A Sea Symphony Sunday 13th December 2020 Elgar The Dream of Gerontius |
ReviewsChristmas 2018
Ryba Czech Christmas Mass Handel Dixit Dominus 
Dartington Community Choir and Sinfonietta create new Christmas memories
I have to say I love Handel’s Messiah as much as the next man, and never tire of hearing its all-so-familiar mix of stunning choruses and attractive arias. But, rather like the traditional turkey dinner, it’s not an absolutely essential part of the festive season’s proceedings, and, like anything, you tend to appreciate it more, when you’ve had a break for a while. With conductor Simon Capet, Dartington Community Choir (DCC) is so fortunate in having not only an expert musician at its helm, but also a real motivator whom the singers respect, and so easily relate to – something that unfortunately doesn’t always go hand-in-hand. Rather than coming up with another helping of Messiah, Simon chose the far-more-compact, but really-challenging Dixit Dominus – a work that would equally tax the capabilities of a smaller chamber choir of professional status, as a non-auditioned community choir, who sing because they enjoy it. But that, of course, is the key to DCC’s ongoing and ever-burgeoning success. It’s amazing what you can achieve when you really want to pull out all the strings and give 100% commitment to the cause. The opening work, on the other hand – Ryba’s Czech Christmas Mass – was the complete opposite. Essentially really quite simple, every movement in a ‘happy’ major’ key, and very much modelled on Haydn’s religious philosophy of not always having to be morose and suitably serious to sing praises to God – cheerful and light-hearted music can do it just as well, and really rather better, too. True, the Ryba wasn’t deemed as overly challenging – unless the challenge was to try to keep a straight face while some of the lovely little pastoral tunes and catchy melodies were being played out by the orchestra. But again it was the sum of all the parts that made this Christmas programme as a whole so appealingly entertaining, simply oozing true Christmas spirit from start to finish. Of course, once the New Year begins, echoes of Ryba and Dixit Dominus will all seem but a distant memory for the choir-members, as they start rehearsing for their April concert – and where Requiems by Duruflé and Karl Jenkins will be the order of the day. But Simon tells me he has something special up his sleeve – in the shape of a Japanese Shakuhachi – but more about this later. Meanwhile, for the audience, strains of the Christmas Concert will surely still be echoing around the Great Hall rafters for some considerable time to come. You can read my full review of the present concert here at Seen and Heard International. Philip R Buttall ArtsCulture artsculture.newsandmediarepublic.org |