“Winter Tales” was the heading for this ancient-to-modern Christmas traversal given by the grammy-nominated Voces8 to a sold-out Wigmore Hall. From the English golden age of William Byrd through to popular seasonal arrangements, this eclectic programme enjoyed handsome performances that were a model of a cappella singing. Of this versatile group, established in 2005, only its founder and director Barnaby Smith belongs to the original line-up. Notwithstanding changes in personnel, Voces8 remains a compelling and stylish ensemble, tuning, blend and balance in a class of its own. Add to that the group’s finely honed presentation, it’s little wonder they sing to full houses.
And this packed house held its breath in rapt attention, almost a breathless silence through Rachmaninov’s Bogoroditse Devo, a stretch limo of a performance sung at a tempo that would challenge most other groups. Chords unfolded like a slow processional – the result mesmerising, not least for the exemplary control over dynamics and stamina. This Marian extract from the composer’s 1915 All-Night Vigil segued seamlessly from Michael Praetorius’ Es ist ein Ros' entsprungen, its sense of wonder relating to the Virgin Mary beautifully fashioned. It was Hieronymous Praetorius, unrelated to Michael, whose extended macaronic offering interleaved the popular carols Joseph, lieber Joseph mein and In dulci jubilo into the liturgical Magnificat quinti toni. Lilting rhythms and florid counterpoint were pointed to impressive effect, and if agility rather than power was uppermost, there’s no escaping the fact that Praetorius was a Renaissance master of polyphony.
Proceedings had begun with William Byrd’s Rorate caeli before slipping into a choral triptych from the young Indian American composer Reena Esmail setting words by Rebecca Gayle Howell. Entitled The Unexpected Early Hour and belonging to A Winter Breviary which views the Christmas story through the natural world, this ‘eco-carol’ was striking for its bell-like sonorities and folk inspired gestures. It perfectly complemented the polyphony of Byrd’s Advent motet. Equally striking was the setting of words by crime writer and Christian apologist Dorothy L Sayers in Jonathan Dove’s The Three Kings, a reimagining of the royal trio who pay homage to the infant Jesus in music of ecstatic mysticism, each section linked by a haunting refrain. Both this carol and Francis Pott’s Balulalow have become classics, the latter with its shape-shifting harmonies sung with exquisite poise, soprano Andrea Haines soaring effortlessly over the rich textures, the music’s sense of wonder fully realised.
No less a signature work is Sally Beamish’s In the stillness, a perfect marriage of words and music bringing an unvarnished portrait of a snowbound parish church and, by extension, the humble nativity scene of Christ’s birth. The evening’s most recent carol came from Luke Mayernik whose tender setting of William Blake’s The Lamb won first prize in the 2023 Voces8 Composition Competition. This was its world premiere and no doubt, over time, we will become more familiar with this engaging piece. Elsewhere, the sumptuous harmonies of Jonathan Rathbone’s The Oxen prepared us for a selection of big band style stocking fillers variously arranged by Blake Morgan and Jim Clements. And what audience does not respond with such explosive enthusiasm when Silver Bells, Let it Snow! and Santa Claus Is Comin' to Town are delivered with such obvious panache. Surely no Christmas can be complete without Voces8's stunning performances.
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