Verdi’s Messa da Requiem is often described as operatic, which could mean that in a liturgical context it is quite over the top. Its performance certainly calls for a full-blooded attack, interleaved with quieter more reflective moments, which is what was served up here by the Perth Symphonic Chorus and the Perth Philharmonic Orchestra. Winthrop Hall is not the most appropriate venue, with the choir and orchestra crammed onto the stage, and the dominance of the brass due to its acoustics. It is to the conductor James Pratt’s credit that on the whole he managed a good balance of the dynamics, with the choir only occasionally becoming less audible, as in the Tuba mirum.
The Perth Philharmonic Orchestra seems to be a rather fluid entity; on this occasion, the concertmaster was Shaun Lee-Chen (regular concertmaster for the Australian Brandenburg Orchestra). The score was well played, with the varied tempo markings well observed and the subtleties of the quieter passages effective. One could appreciate the flutes in the Lux aeterna, the woodwinds in the Ingemisco and the sonorous cellos in the Offertorio.
The Perth Symphonic Chorus has become quite impressive under Pratt, with a good balance between the sections. They sang the Dies irae sections with great gusto but also managed appropriately hushed tones in the pianissimo parts. They were flat out in the Sanctus where it almost seemed to be developing into a race with the orchestra, but on the whole choir and orchestra were tight.
A fine quartet of local soloists rounded out the forces. Soprano Naomi Johns has a big voice and rich tone, but her voice has a tendency to spread under pressure. Her initial entry was somewhat unfortunate, but she seemed to settle as the work went on, and certainly had no problem being heard, with a convincing Libera me. She blended well with mezzo-soprano Ashlyn Tymms, who produced well-controlled attractive bronze tone and also sufficient power to maintain audibility.
It is always a pleasure to encounter tenor Paul O’Neill whose voice ranges from mellow to plangent as appropriate, and always sings with evident conviction. His off-book rendering of the Ingemisco was a highlight. He was well partnered with bass James Clayton who sang with considered restraint, with penetrating low notes in Mors stupebit and a well modulated Confutatis. All the ensemble items for the soloists were rewarding to the ear.
