The Tripod

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Any kind of music always sounds good in the Chapel with its great acoustic design, but last Friday, April 25, the Trinity College Chapel Singers' Spring Concert sounded especially pleasant. The pews were filled with an ample crowd from the Trinity community, including parents and students. They turned out for the annual performance, and it was clear from the applause at the end of the show that they all loved it.

The night began with an introduction by Director of Chapel Music John Rose. He explained that the group was starting on the east end of the Chapel in order to better use the space and highlight the singers' voices, as they were without instrumental accompaniment. It was a nice use of the venue. The singers themselves looked the part, in lovely pastels that suited them well. The scene matched the mild night outside, punctuated by birds chirping and twittering away, almost as if they were singing along.

The concert followed a theme of English music. Within this theme, the first song was "O nata lux de lumine" by composer Thomas Tallis. The music was calming and the epitome of holy. It was flowing and echoed in parts, and had many interesting moving phrases. Next was "Ave Verum Corpus" by William Byrd. The singers sounded truly beautiful and emotive. The song evoked a classic, majestic feeling. Haec dies was the last song of the first section of the concert. It, too, was wonderful, with the changing rhythm, and it sounded full. In total, it was a brief segment, which actually left the listener wanting more.

After a brief interval during which the singers proceeded briskly to the organ gallery, the piece de resistance came, titled "Rejoice in the Lamb" by Benjamin Britten. It was an exceptional song that showcased the talent of the group. The song is actually an adaptation of Christopher Smart's poem of the same name. Smart was an 18th century poet who, according to Anglican clergyman Walter Hussey, was "deeply religious, but of a strange and unbalanced mind." He actually wrote the poem while in an asylum. Despite this fact, it does contain many flashes of genius. The main theme of the poem is the worship of God. The Chapel Singers' rendition began with a measured and mysterious portion, then moved to a more vigorous, forceful rhythm with great organ accompaniment by Chao Liao '11. His performance was superb, powerful, and strong, and the instrument emitted deep vibrations that could actually be felt by the audience down in the pews. Then came a solo by soprano Christine Gilbert '11, whose voice sounded magical and angelic. It was quietly moving and extremely well-done. A solo by counter-tenor Finley Harckham '10 followed that was fast, light, animated, and sweet, given the fun and playful lyrics about the mouse. Tenor Michael Magdelinskas-Vazquez '11 also exhibited his voice in a solo, dramatic but still smooth. The section was especially touching to the environmentalists in the crowd because of its mention of nature - for example, the closing line, "for flowers are peculiarly the poetry of Christ." The next chorus was passionate, almost sounding chaotic, but harmonious at the same time. Afterward, Benjamin Feldman '10 had his time to shine, with his forceful solo, in which he hit a particularly good high note. The group ended gently and delightfully. Rose's song selection and ordering was terrific, and it seemed to be the perfect conclusion to the Chapel Singers' year.

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