Just wanted to let you know that I thought the perfomance of the Salieri and Beethoven Masses was absolutely superb - the Choir was exceptional, quite possibly the best choir I've EVER heard, and the orchestra was fantastic. As to Nancy Argenta - superlative. All the soloists worked well together, but the tenor's diction was a joy, as was that of the Choir.

BRAVO!

So why wasn't the concert hall packed? The advertising was good, the programme great, and the reputation of the VPC well established, and then, of course, there was Nancy Argenta - so where was everyone?


May 1, 2008 | Fran Cudlipp (Locust2@telus.net)

I came to the show last night at UVic and loved it, especially the Beethoven. The gentle ending of that piece didn't give me what I was craving, though: a trampoline of energy from which to launch into standing ovation — I did feel like leaping to my feet several times during other movements, though, and had a huge grin on my face nearly all the way through. At one point, I was so jazzed by one of the Amens, I kind of squirmed around and punched my fists in the air; I think the woman next to me might have been puzzled by that. When all was quiet and complete, I remained seated, but clapped until my hands ached and whistled and yelled hooray, because I truly enjoyed the beauty and passion of the performance. I also felt touched, appreciating and valuing the dedication and artistry required to present such a satisfying evening of music.

My brother performed the Mass in C in New York with his choir last year, and told me it was terrific fun for him to sing. I hope it was for all of you. If not, you sure fooled me! I saw enormous excitement and expression on faces and in bodies up there on the risers. At times, I imagined myself up there with you, but I was so grateful to be getting the full effect of the work as an audience member, I felt quite content and present in that role. I brought my friend Vanessa with me; it was her birthday. She enjoyed the show too.

So. Thank you for spending all of those Monday nights in a chilly church, drilling and re-drilling all of those tricky misereres and modulations, entrances and cutoffs, fugues and fragments, pianissimos and fortissimos. As an insider, knowing what was re"choir"ed makes it all the sweeter for me, but I could hear the depth of appreciation in the swells of "civilian" applause all around me. What you vibrated into the air last night was a gift of energy to the universe, and I know it travelled far beyond the walls of the auditorium.

With Gratitude and Warmth,

Mollie Kaye

As a choir member who could not sing in the Spectre’s Bride since I was travelling and only returned on the 30th I wanted to comment on the performance on the Wednesday evening. It was a most enjoyable performance. The choir sounded wonderfully blended with no voices sticking out. This is what a great choir should sound like! I was particularly impressed with some of the men’s entries – rarely do you hear that in a choir. It was great listening. The miking of the soloists was highly effective and was just enough except perhaps a few times Bruce Kelly was a little too loud. (we were in the 12th row).
Generally the orchestra did not overpower the choir but of course I would have liked to hear the choir even more prominent – could they be amplified in the future as well? I know some of this is the acoustics of the UVic auditorium.

I recently attended opening night of the Victoria Philharmonic Choir’s The Spectre’s Bride . Outlaw Social, a local folk band, “opened” the evening and was a wonderful treat. Many people wondered how successful this choice was going to be. Simon Capet even alluded to this in his introduction. From their opening song, the choice was a clear winner. The songs they chose to perform were perfect for the evening as was their energy.

The Spectre’s Bride opened the second half of the program and although I enjoyed it very much, I left feeling frustrated and saddened that, knowing how much work went into this production on the part of the choir, one could barely hear them! I had the perfect seat: dead centre, main floor, 10 rows back. No problem with that. The problem was the size, or rather the volume, of the orchestra. (I’ve attended other concerts by the VPC and when one can hear them, it is truly a wonderful sound. Rich, well balanced for the most part, and well rehearsed.) Although most of the text of this piece was sung by a narrator and the choir merely repeated what the narrator sang, it would have been nice to be able to hear the choir that got top billing on the program. There were times when it was even difficult to hear the soloists, also due to the volume of the orchestra. I heard this comment from other audience members as well.

Everything considered, it was an enjoyable evening. I just wish Simon had reigned in the orchestra so the choir could have been heard.

And finally, back to where I started--with yet another florid, over-wrought column by Rex Murphy. Today he's exercised because Handel's Samson oratorio is being given "a modern political reading" by an artistic director in Victoria. Samson is being portrayed as a suicide terrorist, which doesn't work for Murphy because the strong man has the wrong religion, and because the artistic director has the wrong politics, a sin that Murphy, with no visible trace of irony, attempts to rebut with political arguments of his own, when he isn't personally attacking the director. But then we come to this: "This insertion of current politics into timeless masterpieces is a form of petty vandalism."

That one took my breath away. Because Murphy is here arguing, not for art, but for religion. What, after all, is a "timeless masterpiece?" Has the man never been to Stratford, to witness the endless interpretations, many of them good, of William Shakespeare's plays? Does the strength of art not lie precisely in its capacity to be endlessly reinterpreted, made real and immediate for audiences across centuries and cultures? Its "timelessness" consists of its almost infinite adaptability, not its persistence as one thing while history and culture eddy around its vast, immoveable bulk. The latter isn't art--it's just another version of that vulgar notion of God that's causing so much trouble. It stems from the self-same desperate clinging to the authority and stability and order that totalitarians promise. It is founded on fear and self-deception, and there is no shortage of politicians and preachers to exploit both for their own ends.

Samson Agonistes, John Milton's poem upon which Handel based his work, is only intelligible to us today because we recognize the emotions and the images that it conjures up: the heroic representative of a people, captured, blinded and enslaved, who sacrifices himself in order to kill his enemies, delivering his people from the "Philistian yoke" and thus carrying out the will of God. In a place called Gaza. Attempting to discern his all-too-human psychology in the poetry, we might well develop a different, and deeper, insight into the mind of a suicide bomber, or a young kid at Vimy, for that matter, fighting the war to end all wars. Battles are at this very moment raging over Samson's grave. We can be stirred by this poem for numerous reasons, centuries after it was written--but not if we treat it as holy writ, timeless and unchanging, and wait for it to be interpreted for us by imperious clerks, high priests and newspaper columnists. The letter killeth.

And the vandal is . . .

Rex Murphy trashes the Victoria production of Handel's Samson oratorio without having seen it (Vandalizing A Timeless Masterpiece -- April 7). Well, I did. While the staging would not have been my choice, to dismiss it as mere agitprop is nonsense.

Folks who stayed away missed an impressive, highly professional celebration of Handel's great work in a production that merited not one of the misleading denunciations from a continent away. Poor Handel and John Milton deserve more thoughtful media friends.

Globe and Mail, Letters to the Editor April 10, 2007

Thanks to all concerned for the deeply moving performance of Handel's "Samson" which I attended last Sunday evening. What a perfect space to stage Handel! I loved the intimacy of the production which allowed the audience to become so involved in the poignancy and tension of the drama vividly depicted in the relationship between Samson, Micah and Manoah.Their anguish was heartbreaking.All three sang with such clarity, beauty and depth of feeling. Indeed that commitment to the music and the drama was projected by all the principal singers and choir.Underpinning all this was a wonderful orchestra which really captured the warmth and humanity of Handel's music. Bravo to all concerned especially director Simon Capet.

GIVE YOURSELF A MUSICAL TREAT …

Tonight, there will be the final presentation of Samson. I urge you, Reader of this post page, that if you have not yet attended the Vic.Phil. Choir’s production of this gorgeous work of Handel, to go down to the theatre tonight and wrap yourselves in the aura of an evening that you will never forget. I also urge those who have posted negative comments, especially those of you who have not yet seen the performance, to do likewise.

I have been steeped in a love of classical music all my life though I had not heard Samson prior to attending opening night. My reaction to this production? I was transfixed. How I wished that the performance would not end. The magnificent soloists (realise that the lead, our very own tenor, Ken Lavigne, can equal the best in the world), the finely honed orchestra and the simple, striking set. produced a triumph for the Vic. Phil. Choir. I do fear though that, once the final curtain falls, Samson will remain as only a memory unless a recording be made. Recorded in DVD the viewer would see soloists who so believably reflected their anguished emotions as they sang, the viewer would look at the impressive set as a background to their wonderful sound made the performance even more of a treat.

And now to the feeling of ‘political correctness’ that the production has caused to rise. I am not going to get into a discussion on this except to say that, in my opinion, this sort of production is important. To quote an eloquent friend …”What is Art supposed to do? Why, question, involve, make people uncomfortable, move them, make them think. Art must be free from political correctness and be able to present music with fresh eyes.”

So, dear post page Reader, go down to the theatre tonight and wrap yourselves in the aura of an evening that you will never ever forget.

GIVE YOURSELF A TREAT!

We have travelled from Calgary often to hear the Victoria Philharmonic Choir, the latest time being to hear Handel's 'Samson'. We are very impressed with this new choir and the progress it is making. We very much enjoy the creative and brave programming of Simon Capet, an artistic director who leads us to explore, reflect and find connections to our contemporary world. We look forward to the Dvorak concert in June.

I attended the Saturday matinee of 'Samson' and would like to say it was quite well done. Being more of a traditionalist, I prefer original settings, however the staging was interesting and certainly not fussy/complicated enough to detract from the work as a whole. Being a godless, middle-of-the-road when it comes to religion, other than to say that religion has pretty much been at the root of the world's problems since time began, I can't see what all the flap is about. We have the right to condemn an artist from our own personal views, but they have to right to express themselves. Art is human expression, creating and re-creating ideas and vision. Being a musician myself, I attend a concert for the music. Period.

Simon is a lot of fun to watch and is an excellant conductor, always very clear in conveying what he wants. The orchestra was superb. The choir were great. This is a big work with great demands on vocal stamina (big sound!). A few burbles here and there, but certainly nothing too noticeable. I was impressed by the courageously forceful entrances where there was no accompaniment. I agreed with some one else who noted a couple of theatrically bobbing heads, one in the soprano section. A little distracting. Great energy throughout, whew! I was a little disappointed in the soloists. I noted a number of pitch problems, especially early on. But over all, well done. Bruce Kelly was particularly wonderful. Lighting was a little poor on front stage right, perhaps though that was intended. I know the work that went into this, please give yourselves a big atta-boy and thank you so very much for an entertaining afternoon.

Now if the rest of choral Victoria could only get the kind of coverage and reviewing VPC gets, wouldn't that be great?

Janice Campbell

Hi Simon, just got back from the first performance of Samson - what a revelation! Who knew oratorio could be so wonderfullly theatrical - well you, obviously, but it knocked my socks off. Your choir was very good, your principals were excellent - I especially enjoyed Samson and Manoah.
And setting it where and when you did, while obviously dramatic, if not provocative, was also very powerful. It gave a new and interesting perspective to the story - and gave one pause for thought.

I am sorry - but not surprised - to learn you have been subjected to threats, but good for you to be willing to be daring, so stick to your artistic vision.

Thank you for the music! Handel's Samson is a demanding work, and it was well sung, especially by Ken Lavigne, Bruce Kelly, and Dalila (can't find the program with her name!) The choir had a great sound, and the orchestra gave excellent support. Simon Capet is a great addition to the arts community in Victoria, and so is the choir, despite the wealth of choral organisations here. We also enjoy his commentaries, when we attend one of the Live at the Met presentations.

I will "weigh in" on the controversy about Irgun Zwei Leumi. I think great music, and the text of Samson, based on Milton, are always relevant and do not require "updates." Perhaps simple "drapery" costumes would have been better. Yes, there is an historical link between the days of the Israelites and the Philistines, and more recent times, but it really adds nothing to the music. The idea of a semi-staged performance is definitely a good one, and we found the production very worthwhile despite the anachronistic staging.

We look forward to the "Spectre's Bride" and further Victoria Philharmonic events.

I was at the opening last night to see, hear and feel the outstanding performance of this powerful oratorio. It was very much more accessible to me as an audience member to see the presentation of characters in costume and enacted in character, versus the staid, standard presentation of "park and bark" performances - which are fine enough, but this was so much better!

I agree that the time shift and terrorist theme was daring and a huge risk on the part of the Music Director, but what is life if not taking chances and putting oneself on the line for the sake of art? How does humanity move forward if we only maintain the status quo and never attempt something creative... we certainly would not be enjoying Samson today if Handel had not been creative, innovative and original in his approach to composing such a piece.

I find it extremely useful to attempt to bring modern day relevance to music from the past. Why not? For starters, it stirs the head and the heart – even though you may disagree with the premise or the final product, look how it’s got people talking about a topic they are passionate about.

I personally do not fault Simon Capet for his innovative approach. I congratulate him. And congratulations to all on a very powerful and moving concert!

Trauma begets heightened emotions and angry reactions. Music can soothe. Trauma begets avoidance and numbing. Music can enliven and result in re engagement.

In Samson and in the world today we see rage as has been well illustrated by some of the messages to this page. We see also see the avoidant disinterest of the average citizen of the western nations numbed by the nightly newscasts from CNN.

Samson rages at Delilah and exacts revenge upon her people but we the audience are in the end entreated to hope for peace and unity.

So it can be amongst the peoples of the world today, if we just let it. We must understand the anger of the traumatised and be patient with it, but Simon Capet must be congratulated for using the emotional language of music to search for a solution to our continuing enemity to our fellow human beings.

Just wanted to congratulate the choir (and Simon) and wish you a great concert. Please ignore the huffing and puffing from these self-important critics, and concentrate on the lovely harmonies, which is, after all, what it's all about. The only dissonant notes here are from noisy, unimaginative hecklers. Shame on them!

How difficult it is to put into words something that is impossible to describe. I attended your concert of Karl Jenkins work at UVic. It was a total experience... mind , body , spirit. Even as I sit here typing, and trying to convey my feelings, the tears come to my eyes.The glorious sound of the choir, the passion and fire of Mr. Jenkins work, the beauty of the entire sight, the soundless explosion of the audience as we all seemed to stop breathing when we could not clap or cheer [ which we made up for later: thank-you VERY much for allowing us that release! Thank-you for the finest concert I have ever attended.

Thanks for performing at Market Square. Hearing voices and brass performing carols made me quite nostalgic. I hope you'll put it on again next year.

What a beautiful concert at UVIC! The singing was wonderful and the music a delight. I had not heard Jenkins' music before Monday night and was pleasanrly surprised to hear a modern composer whose music is tuneful and accessable without being boring,
kudos to everyone involved.
Irena

Karl Jenkins? Where do I remember that name from? And then it hit me: I have him on LPs by Soft Machine and Nucleus, two of the most important British jazz/fusion bands of the late '60's and '70's. So I was intrigued to find out he was now doing "serious" work.

The concert in Victoria was exhilirating. I will now investigate more of his current recordings. The Victoria Philharmonic choir was superb. I look forward to more concerts. Thank you for giving Victoria the opportunity to hear such wonderful music

Our son's band teacher recommended the concert and although we did not attend the actual concert(we came to the dress rehearsal at UVIC auditorium)it was still top notch, even though it went a little late(r) than the actual concert I'm sure. Both of our kids(15 and 11) are sax and piano players, and they both appreciated the pieces, and were thrilled of course(especially the 11 yr. old) to recognise the piece from the diamond commercial! We have a new appreciation for violinists!!!! John & Brenda Hautaluoma