San Francisco Classical Voice

CHORAL MUSIC REVIEW Trebles On Parade

June 14, 2002

Ian Robertson

By Ching Chang

Before a large audience of music lovers and proud parents, the San Francisco Boys Chorus presented its spring concert at Grace Cathedral's majestic sanctuary this past Sunday afternoon. Performing works ranging from Messiaen's intimate meditation "O Sacrum Convivium" to shlocky pop tune arrangements, not even the event's diffuse artistic message could hide the youthful vocalists' considerable talents, as Artistic Director Ian Robertson and his assistants led the boys in performances that exemplified disciplined vocalism at its most spontaneous and pure.

Operating as an educational organization as well as a respected artistic entity, the San Francisco Boys Chorus program is structured according to appropriate age and skill-level groups. The most accomplished boys make up the Concert Chorus, and are often called into duty at the San Francisco Symphony for works requiring a peripheral treble-voice complement, such as Mahler's Symphony No. 8 or next season's Britten War Requiem. They also appear in several of the San Francisco Opera's mainstage productions, such as Bizet's Carmen this summer and, next season, Puccini's Turandot, Verdi's Otello and Humperdinck's Hansel and Gretel.

Ranging in age from five through thirteen, the boys are also constantly pressed into ceremonial service at important civic events, ball games, citywide festivities and such. As cultural ambassadors for San Francisco, they have also represented the city and the country internationally at special appearances and diplomatic functions, as well as in command performances before heads of state and royalty.

Badly mixed modes

Consequently, in one of its main annual concerts, the adults in the organization would be expected to choose a program asserting the artistic legitimacy of this highly cherished local ensemble. Instead, they chose to place a self-congratulatory graduation ceremony for the departing members at the core of this presentation, one which had been billed to a paying public as its Spring Concert. Not that it was outrageously inappropriate — and indeed, I'm sure many of the graduating boys' parents were particularly appreciative of the gesture — but it certainly lessened the impact of the music-making evidenced by these very talented singers. After a fine performance of Vivaldi's "Gloria," one was suddenly transported back to a junior high school graduation ceremony, complete with diploma presentations, handshakes, and even a barbershop performance by an octet of grown-up alumni.

The concert opened with the Preparatory and Apprentice choruses (the youngest groups) singing charming unison and part-harmony motets and chorale tunes by Thomas Morley and J.S. Bach, rendered with clean tone production and the sort of uplifting innocence that an adult chorus simply cannot emulate. Also impressive was the "Grazioso" by Arnold Sherman, played by the SFBC's Bell Ringers, directed by Dick Meyer. The Intermediate Chorus rendered more-complex polyphonic music in free-flowing tone, delivering Michael Praetorius' "Sing dem Herrn" and English church composer John Rutter's "I Will Sing With the Spirit" with uncompromised grace and musicianship. A bouncy, knee-slapping choreographed "Ol' Dan Tucker" arranged by D.E. Cormier was an audience favorite.

The finest performances were offered by the advanced group, the Concert Chorus. The transfigurative spirituality of Messiaen's tender "O Sacrum Convivium" was delivered with impeccable intonation, its pitch-defying harmonic shifts rendered with sweetness and tonal polish. Accompanied by a small orchestral camerata,Antonio Vivaldi's' jubilant "Gloria" was informed with dynamism in clean, precise attacks and a spacious, airy feel. The "Laudamus te" was joyous and buoyant, nicely contrasted by the solemn "Gratias." The "Domine Deus" solo provided a spine-tingling highlight, sung by the exceptionally gifted boy soprano Michael Bannett, as he was partnered by the arresting oboe obbligato of Brenda Schuman-Post. Nathan Calixto, a graduating chorister, proved agifted and assured conductor as Ian Robertson ceded the podium for a setting by Fromm of Psalm 92, "Praise Ye the Lord." The rest of the program included the premiere of local composer Jason Martineau's festive "One World, One Ocean," as well as pop pearls such as Paul Simon's "Bridge Over Troubled Water" and the Andrews Sisters' perennial classic, "Boogie Woogie Bugle Boy."

(Ching Chang is a contributing writer to several publications, including the SF Gate, SF Bay Times and Opera News. He writes a monthly column on classical music and opera for the SF Gate's eGuide www.sfgate.com/eguide)