Requiem fit to raise the dead (Cumberland News, 2 April, 2004).

Verdi’s Requiem - Cumbria Rural Choirs, Sands Centre, Carlisle

GRACED by the presence of Mayor Judith Pattinson - hugely appreciative like everyone else - a large audience gave an ovation to conductor Philip Ledger and the Rural Choirs at the conclusion of the performance of Verdi’s Requiem last Saturday night.

Also included in the prolonged tribute were the Symphony Orchestra of the Royal Scottish Academy of Music; soloists Diana Palmerston (soprano), Vanessa Williamson (mezzo), Paul Trotter (tenor) and Quentin Hayes (bass); and chorus master Ian Hare.

The chorus made evident their personal indebtedness to Sir Philip and Ian Hare, whose personal charisma and patience gave this wonderful performance that extra lift.

Hushed strings and voices marked the opening bars, but the words, and Te decet hymnus, brought forth appropriate power.

And power there was aplenty in the terrifying Day of Wrath movement that follows not least from the virtuosic brass section, ever driven onwards by the Verdi base drum. The "invisible" (offstage) trumpets made telling contribution.

What then of the soloists, so vital to this performance? Bass Quentin Hayes showed rare vocal quality in Mors stupebit, while Vanessa Williamson excelled in Liber scriptus, especially in the high register. Her duets with solo bassoon, and solo soprano were both exemplary.

If the chorus sopranos soared in the Dies Irae, then soloist Diana Palmerston soared even higher, crowning the whole ensemble with a sustained and top C in the Libera me.

Her final speech-rhythm delivery of these words was deeply moving - a devout Italian catholic girl before a shrine. The chorus were very good here too.

The solo tenor needs vocal riches, and in Ingemisco Paul Trotter showed these in abundance: a real highlight.

Testing passages for cellos and the flute trios were well-negotiated. So too the taxing Sanctus by the chorus whose tuning and discipline in the Agnus were a joy

Throughout there was evidence of thorough preparation that enabled the choir to respond to a conductor with whom they already had real entente_.

A truly wonderful experience for all present. If there had been a second night, I should have been first in the queue. But it will have to be the hi-fl, and it won’t be the same.

This Requiem for the Departed essentially needs a live performance. Those who were at the Sands last Saturday were privileged to hear a deeply satisfying one.

ANDREW SEIVEWRIGHT