PERFORMANCE OF RACHMANINOFF MASTERPIECE SOOTHES THE SOUL
By Peter Jacobi, H-T ReviewerNovember 3, 2008
The attractive combination of the Bloomington Chamber Singers and Rachmaninoff’s “All-Night Vigil” enticed a sanctuary-filling audience to the spacious First United Church Saturday evening. The hushed quiet of the crowd throughout the hourlong concert and the enthusiastic response at its end strongly suggested that most everyone went away contented.
The “All-Night Vigil” takes only those 60 minutes. What one experiences, however, washes away specifics of time. The feeling engendered and sustained is one of expansive spirituality. An ambience of peace and quiet generates from Rachmaninoff’s score, written to inspire worshipers in the Russian Orthodox Church through music worthy of further ennobling the already noble sentiments of Vespers, a prayer service for evening, and Matins, one for morning.
Conductor Gerald Sousa drew from his 70-or-so choristers a compelling sincerity of performance, an imperative for a work uncharacteristic of those usually associated with its composer. Rachmaninoff is better known for his concertos, symphonies and piano pieces, these calling for virtuosity of technique and showmanship. Not so, the “All-Night Vigil.”
To master the Russian text and the blends of sounds is no easy task, mind you. Quite the contrary for an American, non-Russian-speaking choir, but the impression aimed for is the reverse of exhibitionism. And given a leader who understands and believes in the music, as Maestro Sousa obviously does, an ensemble of community versus professional status can be guided to become one with this stirring piece, even to make it soar. Sousa and friends did just that.
The performance was dedicated to the memory of Thomas Dunn, the notable and highly respected choral conductor and IU faculty member who passed away in late October. He would have been well pleased, one suspects.
In passages of praise and rejoicing, in those of gratitude and ever so tender, in expressions of uplift and supplication, in everything that a faith-driven Rachmaninoff poured into the Vigil, considered by many to be his masterpiece, Saturday’s host of Bloomington singers matched requirements. The musicians infused the score with depth of feeling, artlessness versus artifice, and a sense of devotion. They gave, in other words, their all, as vocalists and as purveyors of good thoughts and fervent togetherness.
Amid current world turmoil and the bitter bickering in a seemingly endless but, thank goodness, about-to-end political campaign, this “All-Night Vigil” — a potent expression of bonding in both substance and performance — proved especially welcome: restorative balm, no less.
