Boychoir's "All Quiet" Powerful
What could be more touching than hearing a boy choir sing in memory of the First World War?
Sunday afternoon’s “All Quiet” by the Cincinnati Boychoir at St. Peter in Chains Cathedral was both touching and thoughtful, one a series of city-wide events observing the 100th anniversary of the outbreak of World War I.
Coordinated by Cincinnati Opera, “Cincinnati Remembers WWI” is part of The First World War Centenary Partnership, a worldwide initiative based in London, to commemorate the War with cultural events and activities.
Participating were the Boychoir’s 28-member Tour Choir, 16-member Men’s Glee Club (changed and changing voices and Boychoir graduates) and 55-voice Training Choir. Founded in 1965 and nearing its 50th anniversary, the Cincinnati Boychoir includes boys from first grade through high school.
Led by Boychoir artistic director Christopher Eanes, the program mixed anger, devotion and sublime spirituality. All of the composers were French, chosen because of France’s centrality as the site of the War’s horrendous trench warfare.
The Training Choir, led by KellyAnn Nelson, opened the concert with a Prelude comprising the spiritual “This Little Light of Mine,” “Dona nobis pacem” by Mozart and “Ton Thé,” a spritely song based on a French tongue-twister. All were neatly and beautifully sung.
The program proper began with Debussy’s “Noël des Enfants,” sung by the Tour Choir, led by Eanes. Debussy’s last song, it was written in 1915 and reflects the composer’s anger at the devastation being visited on his country. In the name of the “children of France, the little Belgians, the little Serbs and the Poles” -- “if we’ve forgotten anyone, forgive us,” he writes -- the song invokes Christmas to punish “the enemy who has taken everything.” “Don’t go to their houses, never go there again.”
Short, swift and to the point, it is, in fact, a World War I protest song and was given a crisp performance by the young singers.
This was followed by “Messe Cum Jubilo” (1966) by Maurice Duruflé, a composer who was himself a child during World War I. Set for unison baritones (the Men’s Glee Club), with baritone solo, it made a deep impression. Its lines of plainchant unfolded over a “modern” organ accompaniment, performed by Bonnie K. Spain. Taken together, the textures captured and emphasized the intimate “Kyrie,” bright “Gloria” and deeply spiritual “Sanctus” and “Agnus Dei.” Guest baritone Jonathan Cooper (a graduate student at the University of Cincinnati College-Conservatory of Music), delivered his solos in the “Gloria” and “Benedictus” in pure, polished tones.
Major work on the program was Gabriel Faure’s Requiem (1887-1890). The Tour Choir was joined here by members of the Men’s Glee Club, with organ accompaniment by Spain. It was a lovely reading, sung with distinction by all voices and particularly beautiful for the resonance of the soprano voices. Eanes favored rapid tempos, but the work had a continuity and consistency that were satisfying throughout.
Soloist in the “Pie Jesu” was Ryan Hamilton, who invested his serene moment with precision and pristine tone color. Cooper (alumnus of a boy choir in his native England) was soloist in the “Offertorium” and “Libera Me,” the latter sung with distinct power and eloquence by the entire choir. “In Paradisum” highlighted the sopranos in a final moment of ethereal beauty.
The concert repeats at April 12 at 7 p.m. in Summit Country Day School Chapel, 2161 Grandin Rd. and April 13 at 3 p.m. at First United Methodist Church, 225 Ludlow St. in Hamilton. Tickets are $15, $10 for students and seniors. Information at www.cincinnatiboychoir.org/concerts