An all Mozart programme is always a draw, and the well attended F&DCS concert was testimony to this.
The evening began with the well known Ave Verum Corpus, sung from memory by many. This provided a gentle start to the evening, with a pleasing blend of voices although there was a little flatness along the way.
3 Opera Arias followed, all sung by members of the Perfect family. The opening solo from Cosi van Tutte advised on the use of a young lady’s charms. Sung by Harriet Perfect (soprano) with great confidence, she evidently relished the challenge, much to the enjoyment of the audience! Joined by her mother, Catherine Perfect (contralto) in the ‘Letter duet’ from The Marriage of Figaro, the humour of the moment was well projected and their voices were generally well matched. The family trio was completed with Nicholas Perfect (bass) in a performance of Soave Sia il vento from Cosi van Tutte. The lyricism and heartfelt emotions were never in doubt, nor was the feeling of a family sense of ensemble. They were very well supported by Ian Crabbe’s sympathetic and sensitive piano accompaniment.
The first half of the programme was completed with a performance of Mozart’s Te Deum. The opening was taken at a spritely tempo, with good enunciation and dynamic variety. Whilst upper notes were not always comfortably found, the final contrapuntal entries were reliable and the ending was convincing.
The opening of the Requiem was sensitively phrased and much of the grandeur was captured. There was energy in the Kyrie, much to the credit of the basses, who numbered a mere six voices. Tuning in the Dies Irae was a little precarious in places, but there was drama here. This was complemented in the Tuba Mirum by the soloists’ tones: richness from Nicholas Perfect and as in the rest of the work, some most pleasingly shaped singing from Will Renouccie (tenor). Together with Soprano and Alto soloists, ensemble here was firm and true. The drama and the attack at the outset of the Rex Tremendae was well captured and we once more enjoyed the vivid tones of our soloists in the Recordare. The ensuing Confutatis chorus with its challenging leaps did make major demands of some sections, but Sopranos and Altos worked well together in the sotto voce sections.
The Lacrymosa, perhaps the most poignant of all the choruses, was sensitively handled, and conductor, Nia Llewelyn Jones, did much to conjure the long sustained phrases from the choir, and sopranos shone. Her tempo in the Domine Jesu was well chosen and this danced along, with tenors successfully negotiating some awkwardly high notes.
The Benedictus was largely well managed although ensemble was not always assured into the final Hosanna. The Agnus Dei, once settled and pitching (a little flatness) re-established, the blend of voices was very pleasing.
Cum Sanctis was approached with determination, and with clear projection of the individual parts, the Requiem reached its rousing conclusion.
Throughout, the choir was very ably supported by organist, Ian Crabbe; something of a feat given the position of the organ console. Nia led her troops with vigour, and the choir was in good voice. Together with four pleasing soloists, this was a most enjoyable evening of music making. Long may this continue, and thank you to the F & DCS!
Colin Dowdeswell
Updated 6th April 2026