St Magnus Cathedral, Kirkwall, Orkney, 11 December 2011

THE MEDIEVAL splendour of St Magnus Cathedral is the perfect theatre for this annual festive concert with its soaring red sandstone arches.

WHILE  the powerful pillars flanking the nave are not so great if you are seated behind them, the atmosphere is still compelling. I was one of the lucky ones who had clear sightlines to watch the soloists, Orkney Camerata and the Festival Chorus and appreciate the chemistry between musicians and conductor Glenys Hughes.

The Festival Chorus (photo Tom O'Brien)

Bach’s Christmas Oratorio Parts 1 & 2 was destined to bring us the glad tidings of the Messiah’s birth with vitality and sparkle to gladden the heart. The Chorus were magnificent, coping triumphantly with the spirited soaring passages, such as ‘Glory to God in the Highest.’

The familiar melody ‘Chorale, O Lord of All Creation’ was slowed to a richly intense movement to great effect, with faultless harmonies. The soloists were excellent;  tenor Joseph Doody was rhythmic and light as he narrated the story of the birth of Jesus and the visit of the angels to the shepherds, bass Jerome Knox added richness while mezzo Judy Brown was divinely mellow.

Orkney Camerata had an unusual ensemble of cor anglais and oboes, whose prominent sound ably transported us to the hills with their shepherd pipes, while arias were a platform for accomplished solo moments. Gemma McGregor’s flute capably delivered pastoral notes, while the strings were synchronised  melodically. Trumpets found the cruel high notes a challenge at times.

Between Parts 1 & 2 we were treated to a spirited and uplifting duet between Catriona Price, known in Orkney also as a folk fiddler, and Tabea Sitte, whose family live here, in Bach’s Concerto for Two Violins, often referred to as the ‘double concerto’. As the violinists opened the first movement with a flourish, Sitte was up on her toes and practically dancing.

Violinists Catriona Price and Tabea Sitte (photo Tom O'Brien)

This was a dazzling performance from these two young musicians who are both studying at the Royal Academy of Music. Their dialogue was playful and easy, and they were closely bonded, while St Magnus Festival director Alasdair Nicolson accompanied on harpsichord and the strings, slimmed down to chamber proportions, imitated the phrases. There was a sense of fun and enjoyment irresistible to the audience.

As we left the cathedral, it felt as though Christmas had come at last.

© Catherine Turnbull, 2011