Whimsy. Creativity. And an element of surprise.
That’s one way to describe the eclectic and sophisticated approach to programming of Ars Nova Singers, courtesy of artistic director Thomas Morgan.
In his job with the 32-voice choir — now in its 25th season — Morgan has a knack for introducing audiences to what’s new, obscure or rarely heard in ways that inspire and touch the heart.
At St. Paul’s Lutheran Church in Denver, Sunday’s performance of the group’s annual holiday program opened with a processional by candlelight and a peaceful, ethereal rendering of a Gregorian chant.
The program then continued with a trio of works from the Renaissance era, including French composer Philippe Verdelot’s lush and flowing “Beata es Virgo Maria” that emphasized the ensemble’s well- blended, polished sound.
Another gem on the program was Gabriel Faure’s “Cantique de Jean Racine,” op. 11. Composed when Faure was just 19, this wonderfully melodic work opened with the skilled, lyrical playing of harpist Rosalie Gilbert, which introduced a lush layering of sounds, first by the male voices, then the female voices.
In “The Oxen,” the Colorado premiere of Marjorie Hess’ musical setting for chorus and harp, Thomas Hardy’s poem by the same title was delivered as a rhythmic, reverent and gently rocking depiction of farm animals kneeling at midnight on Christmas Eve.
After intermission, a sweet instrumental interlude — the adagio movement from Tomaso Albinoni’s Concerto in D minor, op. 9, — was delivered by Gilbert and veteran oboist James Brody in balanced complement to a surround-sound performance of “Lo, How a Rose E’er Blooming” and a set of new and old Christmas carols.
“Joseph Dearest, Joseph Mine” had the effect of a mild, tender lullaby; “Ma Navu” — an arrangement of a Hebrew folk melody — featured refined and emotionally resonant performances by soprano Kim Lancaster and altos Leah Creek Biesterfeld and Amanda Lucarini.
But while “Rise Up, Shepherd, and Follow” had a delightful gospel feeling, tenor Steve Kientz’s stiff solo missed the mark. His high, clear voice arguably lacked the visceral warmth and looseness befitting this arrangement for male voices.
Also on the varied yet cohesive program was the Colorado premiere of William Hawley’s 1996 work, “Alleluia! Dies Sanctificatus,” in which Morgan shaped a rising and crescendoing cloud of sound into an overall uplifting effect. The evening closed with “O Little Town of Bethlehem” and a nod to “A Charlie Brown Christmas.”
The program repeats at 7:30 p.m. Friday at St. John’s Episcopal Church in Boulder and at 2 p.m. Saturday at Bethany Lutheran Church in Englewood. For more information, visit .
