A Tapestry of Sacred
Music
Esplanade Concert Hall
Friday (19 April 2013 )
This review was published in The Straits Times on 22 April 2013 with the title "O Happy night".
Esplanade’s 3-day festival of sacred music could
not have gotten to better start, opening to the groovy beat of New York City America Deep South . Converted from
heathenism to Christianity by their white masters, black music took on
religious tones, but coloured by an infectious sense of rhythm and that
essential but undefinable element called soul.
Those expecting spirituals sung a cappella in
strophic form would have been disappointed, as the songs performed were updated
to contemporary popular tastes, accompanied by synthesiser and drum-set. This
concert was in effect a worship service, much like those which charismatic
Christian churches here aspire to, except that this was the real thing.
Each song is simple, built upon a catchy refrain
that is repeated with increasing fervour and passion. The lead singer intones a
proclamation, to which the chorus of eight respond and comment. This
call-and-response form of worship does not conform to any liturgy but is no
less sincere in its expression of faith and belief.
Typically informal was this call-and-response:
“Have you tried Jesus?” answered by, “He’s alright!” Only the most dogmatically
strait-jacketed would object to this, or the number that went “Who am I? I am a
friend of God!” led by the deep-voiced Studdardesque dude (after the American Idol winner) called Mike. The
audience was beginning to warm up, singing along with the chorus and waving
their hands.
The music was less preachy after the
intermission. No introduction was needed for John Newton’s Amazing Grace, showcasing the amazing vocals of soprano Quiona and
the dread-locked Travis. Both employed seemingly impossible melismata for
long-held notes, with gravity-defying feats in the highest possible registers.
Church music or no, that was exactly what the audience came for.
All the nine singers took turns to lead, each
bringing their own charm and personality to the proceedings. As for encouraging
audience participation, they did not break the ice but melted it with a warmth
and radiance that came with being genuinely joyous. When it came to Shakira
(not that Shakira) to lead O Happy Day, the entire audience was up
on its feet, including many who ventured up onstage to join the singers, jiving
and swaying to the music.
This continued into Kool & The Gang’s Celebration, with slightly altered
lyrics, and a much appreciated encore. Almost everybody was sorry to leave, and
if people may be persuaded to forget for two and a half hours that terrorists
and cancer still stalk the world, then the Harlem Gospel Choir has succeeded
beyond its wildest dreams.
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| A standing ovation is a sure thing in all Harlem Gospel Choir concerts. |
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| Really, nobody wanted to go home! |
Good quality photos courtesy of Esplanade Theatres By The Bay.
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