A Ceremony of Carols review: A symphony of joy and Alleluias by the Cardiff Polyphonic Choir
The story of Benjamin Britten's iconic composition, A Ceremony of Carols, is a testament to the power of serendipity. In March 1942, while docked in Halifax, Nova Scotia, Britten stumbled upon a collection of shorter poems by Gerald Bullett, which ignited his imagination. The mystical and evocative nature of these ancient texts, combined with the challenge of U-boat activity, inspired Britten to set them to harp accompaniment, creating a masterpiece that continues to captivate audiences worldwide.
Cardiff Polyphonic Choir's Christmas celebration, conducted by Thomas Blunt, brought this timeless work to life. The choir's performance was a departure from the familiar boys' choir sound, instead embracing a more atmospheric and dramatic approach. The 11 movements, from the sopranos' opening plainchant to the final Recession, were a testament to the choir's versatility and skill. The central carol, 'This Little Babe', depicted the Christ child as an angel of vengeance, and Blunt's pacing allowed the fast, furious rhythms to build momentum, culminating in an emphatic climax. The energy of this movement, coupled with the penultimate 'Deo Gracias', effectively contrasted with the radiant and lilting beauty of 'There Is No Rose' and 'Balulalow'. Elen Hydref's harp playing added a layer of expressiveness to the performance.
The concert's earlier portion showcased a diverse range of composing traditions. Mendelssohn's Advent and Christmas motets, with their eight-part harmony, were paired with Gottfried Wolters' setting of the pilgrimage song 'Maria durch ein Dornwald ging'. The Virgin Mary's journey through the forest, where thorn-trees blossom in her honor, was brought to life through Wolters' composition. The contemporary 'Hodie Christus natus est' by Gašper Jereb echoed the contemplative feel of carols by John Rutter and Judith Weir, creating a sense of introspection and reverence.
The program also featured works by Welsh composers Alun Hoddinott and William Mathias, commissioned by the Polyphonic early in its six-decade history. 'Sir Christèmas' by Mathias, with Philip Aspden's lively organ accompaniment, showcased the dancing gaiety of the season. The performance concluded with a joyous exclamation of 'Nowell, Nowell, Nowell!', a fitting end to the concert.
The Cardiff Polyphonic Choir's performance of A Ceremony of Carols was a testament to the enduring appeal of this composition. The choir's ability to convey the joy and Alleluias of the carols, while maintaining the atmospheric and dramatic flow, made for a truly memorable experience. This review highlights the choir's skill and the timeless nature of Britten's work, inviting audiences to appreciate the beauty and power of this musical masterpiece.
