MUSIC AT CROSTHWAITE

VIRTUOSO RUSSIAN ENSEMBLE

The summer 2007 season of concerts at Crosthwaite Church, mounted by its enterprising and distinguished resident organist Ian Hare, got off to a splendid start last week. The distinctive timbre and vitality of Russian choral singing has commanded an enthusiastic and justifiably large following in Britain ever since groups such as the Soviet Army Choir burst on our musical scene in the early 1950s - and the church was full for this visit by the Hermitage Ensemble from St.Petersburg.

The group consists of just four male singers, collectively and individually virtuosi of the highest order; in Russia they all have notable careers as opera and concert soloists. Although with one exception the entire programme was sung unaccompanied they displayed such a remarkable range of textures and moods that instrumental sound would have been intrusive rather than supportive.

The recital began with a sequence of Russian Orthodox religious pieces the first of which, 'Praise the Lord from the Heavens', was an extended 'anthem' by Bortnyansky, a contemporary of Beethoven and the founder of 'modern' Russian choral style. It established immediately the features and qualities that were to delight and thrill throughout the evening - most strikingly the arresting Russian vibrancy, resonance and intensity of expression which were maintained even in slow and hushed movements. Moreover, in the ideally sympathetic acoustic of Crosthwaite, which the performers themselves remarked upon with delight, their characteristic Slavonic voice-production, remarkable breath-control, unfailing sonorous intonation with minimal vibrato, and rhythmic precision, were all enhanced; and especially when power and majesty were needed there was a compelling illusion of large choral forces at work.

Yet equally satisfying were the many occasions calculated to give each singer solo prominence, either in the religious works or in subsequent wider-ranging repertoire and folk-music items. Constantly impressive was the ingenuity, variety and sheer musicality of the (anonymously-arranged) three-voice accompaniments to solo numbers and passages. Tenor Igor Vozny excelled at many ringing, exultant climaxes but also in the restrained lyrical 'Ave Maria' arranged from music by Caccini. Pavel Kravchenko is a Baritone commanding both great power and intimate calm, notably in those pieces clearly deriving from the tradition of having a leading solo-cantor in Orthodox services. Alexander Okulov, Bass, was less conspicuous but a wonderfully blending and secure foundation to the harmony - and in one typically narrative folk-song a witty and characterful soloist. But the outstanding personality was Vladimir Matygulin; as musical director he was discretely in total control, as organ accompanist he was most sensitive in Mozart's famous 'Ave verum corpus', and as Counter-tenor / lead-singer perfectly integrated in ensembles and ravishingly beautiful as soloist for pieces as contrasted as the romantic 'cabaret' number 'Moscow Nights' and the hauntingly impressionistic 'Those Evening Bells' - a tour-de-force for the whole Quartet.

These are names for whom opera and vocal fans can keep a look-out; for those of us lucky enough to hear them 'live' their performances will linger long in the memory. Frank Bovill's warm vote of thanks underlined for us all the bond which music can create between different cultures, sacred and secular. Credit for the success of the Tour, which has taken in much of Scotland and the North of England, goes also to the group's energetic manager and interpreter, Natalia Aksuticheva. Meanwhile we await with anticipation the next concert in the series on 9th June, featuring the acclaimed Lancaster Singers.

Brian Richardson
pp Crosthwaite Church