Choir, brass deliver good holiday cheer

Given in the spacious nave of Christ Church Cathedral, it opened with two unaccompanied Renaissance motets and a carol from the same period. Sweelink’s Hodie Christus Natus Est and the Praetorius setting of Es Ist Ein Ros’ were solid in every respect, the latter especially for its closeness of ensemble and bang-on tuning.

Victoria’s O Magnum Mysterium, surely one of the most perfect motets of the 16th century, didn’t fare quite so well. The sopranos sounded a little harsh in their unsupported first phrase, and the alto entry, which normally sounds so ethereal, was slightly off. The rest of the performance was good, but the magic of those opening measures could not be made up.

The sopranos also had trouble with the opening of Samuel Scheidt’s setting of In Dulci Jubilo, which was above their comfort range by a third or so. In other respects the performance was admirable.

Orlando di Lasso’s Resonet in Laudibus got off to a strong start with conductor Laurence Ewashko singing the unadorned tune, followed immediately by the choir, superbly tuned, balanced and coordinated. The Rideau Lakes Brass Quintet accompanied the singers in a few numbers. Unfortunately, they overwhelmed them now and then, but in general they made a positive contribution.

They were most enjoyable when they played on their own. The familiar Purcell Trumpet Tune and Air was a welcome bit of pomp, while a suite by Giles Farnaby called Fancies, Toyes and Dreams gave the players a wider scope for displaying their individual and ensemble skills.

Like most Christmas choral concerts, this one included a few sing-along carols. The audience was most enthusiastic, and a certain baritone sitting on the side near the back displayed a particularly fine voice and musical sense. However, modesty and journalistic ethics prevent me from naming this exceptional talent.