Review: The Ebor Singers, Tenebrae: Music For Holy Week From Rome, March 23

AS the weather finally becomes warmer and we leave the long winter behind, York’s Ebor Singers presented a seasonal, if slightly early, concert of Italian Renaissance music for Holy Week.

In the exquisite candlelit setting of York Minster’s Chapter House, the Singers opened with a selection of Tomás Luis de Victoria’s Lamentations and Tenebrae Responsories. These works are highly dramatic, and the choir deftly portrayed their narrative swells without overacting, crafting a subtle and measured performance.

Gregorio Allegri’s Miserere is shrouded in mystery; originally only allowed to be performed in the Sistine Chapel, legend has it that the teenage Mozart heard it on a trip to Rome and transcribed it from memory, eventually making it famous. Whether this is true or not, it is largely believed to be one of the most stunning pieces ever written.

Its intricate polyphony, which sees its performers split into two choirs, allowed the Singers to demonstrate their virtuosity. Repertoire like this demands constant and intense communication, and the choir proved themselves to be a true ensemble.

The staggered entrances of Antonio Lotti’s Crucifixus displayed the Singers’ beautiful individual voices before building up into ever more incredible Renaissance polyphony. The stillness evoked by the end of the work was truly haunting.

In keeping with the Tenebrae tradition, the candles were gradually distinguished during the concert, until the Chapter House was almost pitch black. This served to heighten the wonder of the repertoire and the choir’s excellent execution, a wonderful way to enjoy such music.

Review by Alice Masterson