On Saturday, 20th April, in Cupar Corn Exchange and on Sunday, 21st April, in The Albert Halls, Stirling, the combined power of Cupar Choral Society and Stirling City Choir performed the Verdi Requiem. One of the most famous movements in Verdi’s popular ‘Requiem’ is ‘Dies Irae’ which means ‘day of wrath’. It combines all the forces involved in the Requiem (chorus, solo quartet and orchestra) into one grand set of movements. If this was a day of judgement for the combined forces of Cupar Choral Society and Stirling City Choir, then they passed with flying colours. Even more so for the soloists: Elizabeth Thomson (soprano), Nicola Wemyss (mezzo-soprano), Seamus Begg (tenor) and Phil Gault (bass). This movement alone consists of nine smaller ‘scenes’ akin to grand opera. The solo quartet had ample opportunity to showcase their skills and they didn’t disappoint. It’s a testing range, especially for the soprano with the score relatively low at some parts yet still requiring her to soar above the rest of the quartet, chorus and orchestra in places. Many of the orchestral sections are well-known too – and it was a pleasure to hear the complexity brought together so effectively and clearly under the baton of Michael Segaud. The chorus rose to the occasion with clear diction and excitement. The opening ‘Kyrie’ was a little under pitch but there was some effective pianissimo singing from the choirs throughout and both choir and soloists’ entries were clear and confident. The Domine Jesu for the quartet of soloists has three main sections and embraces both the lyrical and the declamatory. All sections were well balanced and were sung with confidence and with a sense of style. Suitable tempi also helped to convey the sentiment of each of the contrasting sections. The Sanctus with its two choirs was well negotiated with the complex range of parts being confidently sung. The spirited singing of the choirs and well-articulated orchestral playing was helped by a suitable tempo set by the conductor. Throughout the performance the blending of the solo voices and the choirs was a feature and this was indeed evident in the Agnus Dei with all singers weaving lyrical patterns both in unison and in harmony. The last two movements, ‘Lux Aeterna’ and ‘Libera Me’, show the musical contrasts of this magnificent work which has been described as Verdi’s best Opera. The final ‘Libera Me’, with its pianissimo singing and soaring phrases to top C’s in the final sections, was a fitting testimony to the stamina and technique of the singers.

Contributed