'Bold, vital and joyful': an evening of music by Mozart
| Type of post: | Choir news item |
| Sub-type: | Newsletters |
| Posted By: | Jenny Lloyd |
| Status: | Current |
| Date Posted: | Sat, 22 Mar 2025 |
'Bold, vital and joyful': an evening of music by Mozart
Regina Caeli
Violin Concerto No. 1 in B flat major
Laudate Dominum
Great Mass in C minor
Exeter Cathedral, Saturday 15 March 2025
In the words of independent reviewer David Batty, Exeter Philharmonic Choir’s all-Mozart Spring concert in a packed Exeter Cathedral was 'bold, vital and joyful'.
London Mozart Players, renowned soloists and choir delivered a 'spirited and enjoyable' start to the evening with Regina Caeli. This sense of spirited enjoyment then spilled over to Joel Munday’s superb performance of Mozart’s 1st Violin Concerto, played with 'a beautiful line and sensitivity to the dialogue between soloist and orchestra'. The first half ended with Laudate Dominum, featuring Lucinda Cox as soloist.
Mozart's Great Mass in C minor comprised the second half of the concert. Like his Requiem, it sadly remained unfinished. The Mass was written for his beloved wife Constanze, one of the soloists at its 1783 première, and the solo work falls principally to two sopranos. Soloists Daisy Walford and Lucinda Cox were 'a joy to hear, virtuosic and agile'. Tenor Ruairi Bowen joined them to good effect in the Quoniam, but bass Tim Mirfin had to wait until the concluding Benedictus before joining his three colleagues to provide a fine platform for the concluding choral Hosanna.
For reviewer David Batty, 'the monumental pomp and solemnity of the choral sections were well met by Exeter Philharmonic Choir, bold where necessary but aware also of the variations in dynamics demanded by conductor Howard Ionascu. Mozart’s double choruses were sung with seeming ease, the Cum Sancto Spiritu fugue was appropriately vital, the Credo was delivered with real belief and the closing Hosannas in the Sanctus and Benedictus were alive and joyful. Throughout, the choir had the luxury of being accompanied by the London Mozart Players, beautifully balanced both internally and with the singers.'
‘With soloists, choir and orchestra authoritatively led by Howard Ionascu, the EPC continues to be in good shape!’
David Batty’s full review can be found here: here
Regina Caeli
Violin Concerto No. 1 in B flat major
Laudate Dominum
Great Mass in C minor
Exeter Cathedral, Saturday 15 March 2025
In the words of independent reviewer David Batty, Exeter Philharmonic Choir’s all-Mozart Spring concert in a packed Exeter Cathedral was 'bold, vital and joyful'.
London Mozart Players, renowned soloists and choir delivered a 'spirited and enjoyable' start to the evening with Regina Caeli. This sense of spirited enjoyment then spilled over to Joel Munday’s superb performance of Mozart’s 1st Violin Concerto, played with 'a beautiful line and sensitivity to the dialogue between soloist and orchestra'. The first half ended with Laudate Dominum, featuring Lucinda Cox as soloist.
Mozart's Great Mass in C minor comprised the second half of the concert. Like his Requiem, it sadly remained unfinished. The Mass was written for his beloved wife Constanze, one of the soloists at its 1783 première, and the solo work falls principally to two sopranos. Soloists Daisy Walford and Lucinda Cox were 'a joy to hear, virtuosic and agile'. Tenor Ruairi Bowen joined them to good effect in the Quoniam, but bass Tim Mirfin had to wait until the concluding Benedictus before joining his three colleagues to provide a fine platform for the concluding choral Hosanna.
For reviewer David Batty, 'the monumental pomp and solemnity of the choral sections were well met by Exeter Philharmonic Choir, bold where necessary but aware also of the variations in dynamics demanded by conductor Howard Ionascu. Mozart’s double choruses were sung with seeming ease, the Cum Sancto Spiritu fugue was appropriately vital, the Credo was delivered with real belief and the closing Hosannas in the Sanctus and Benedictus were alive and joyful. Throughout, the choir had the luxury of being accompanied by the London Mozart Players, beautifully balanced both internally and with the singers.'
‘With soloists, choir and orchestra authoritatively led by Howard Ionascu, the EPC continues to be in good shape!’
David Batty’s full review can be found here: here
