Laura Sam
The Triangle Vocal Project’s Beneath the Moon & Under the Sun was a triumph of a cappella choral music, expertly and artistically crafted and conducted by Dr. William Adams. The accomplished seventeen-member ensemble created a compelling, vibrant soundscape including a breadth of styles and genres that enthralled the audience from the first chord to the final cadence –contemporary, jazz, pop, folk, barbershop, spirituals, and gospel were all represented. Adjusting timbre, tone, and articulation to suit the textural variety, the ensemble fully realized the uniqueness of each offering, performing with a wide range of vocal color, expansive dynamics, and sensitive phrasing. Throughout the performance, Dr. Adams’ expressive and nuanced conducting communicated a wealth of artistic choices to which the ensemble responded with alacrity, delighting the listener at every turn.
The audience was immediately captivated with the opening, “Day of Fire and Sun” (Dominick DiOrio) which aptly set the tone for the rest of this superb performance. The singers cleanly performed the unusual treatment of the text – the isolation of specific consonant sounds such as repeated Ns and Ms with great precision that accentuated the subdivision of the beat, creating an energy that drove the piece to its climax, a wall of dissonant chords that ended with a resounding unison. The brilliant balance and blend of the ensemble was immediately apparent. Even as each singer could be individually heard, they beautifully complemented one another in seamless unity, with voices and sections rising above the texture of the supporting sound as called for in the moment.
The resonance strikingly produced by each singer, amplified by unified vowels, filled the reverberant space from the softest pianissimos to the loudest fortissimos. Especially noted were the subtle dynamic shifts, finely crafted crescendos and decrescendos, giving each musical phrase life and meaning. This was expressly true in the charming Ward Swingle arrangement of Claude Debussy’s “Clair de Lune” – the embodiment of the blurred yet incredibly complex details of an impressionist masterpiece. Of particular delight were the featured sopranos, who carried the soaring line with crystalline clarity, supported by the lush singing of the whole ensemble.
Fabulous tenor soloist, Michael Friedrich, led the spirited call and response of “In Dat Great Gittin’ Up Mornin’” (Jester Hairston) with expressive storytelling and an impressive range (high E-flat at the end!). Phrases were animated with accents and liberal use of portamentos, creating an infectious energy. As each verse modulated upward, the dynamism of the performance steadily increased with the audience expressing its connection with enthusiastic hand clapping. Complementing this spiritual later in the program was the joyful gospel arrangement of “Unclouded Day” (Rev. Josiah Alwood, arr. Shawn Kirchner) full of exuberance and eternal hopefulness.
The Triangle Vocal Project does an excellent job of moving fluidly from one complex chord to the next, with expressive and expansive phrasing appropriately reflective of the text, creating washes of harmonies and rhythms that bring meaning and connection to the hearts and minds of both performers and audience. Two delightful renderings that were exemplative of this were “Savor So” (Darmon Meader) and one of the King’s Singers signature songs, “You are the New Day” (John David, arr. Peter Knight). The subdivision of the beat was always present in the cohesiveness of the ensemble with entrances and releases executed with great precision and nuance.
“London By Night” (Carroll Coates, arr. Gene Puerling) was introduced as “hard to read and hard to tune” but the Triangle Vocal Project and accomplished soloist Bob Slentz-Kesler made it sound easy, moving gracefully through the close jazz harmonies, giving the audience a magical escape to the moonlit streets of “old London town.” The ensemble truly excels in its jazz ballad interpretations, including the enchanting performance of “A Nightingale Sang in Berkeley Square” (Manning Sherwin and Eric Maschwitz, arr. Jim Clements), with lovely solos by Lacey Knapp and Hugo Dowlen, and the rousing final number, “Night and Day” (Cole Porter arr. Alexander L’Estrange), featuring superb soloists Michael Adams, Chris DeStasio, and Rosanna Dowlen.
The chorus sang with exquisite intonation throughout the performance, most especially noted in Eric Whitacre’s “Sleep,” a piece known for its expansive harmonies and cluster chords. With especially resonant basses, the higher voices were able to tune to the ringing overtones, locking in harmonies with clarity and shimmer – truly a delight to hear. Additionally, Dr. Adams gave this piece the space it needed to breathe, evoking a dream-like state with notes floating like semi-conscious thoughts of one falling asleep. This was an audience favorite (amongst many!), with a rousing standing ovation at its conclusion.
Unexpected treats of the evening included Dolly Parton’s “Light of a Clear Blue Morning” (arr. Craig Hella Johnson) with an exquisite solo by soprano Haley Patrick. With the ensemble singing from the back of the hall at their entrance, the sound wrapped the audience with the warmth of sunbeams on a clear blue morning. Another was the dance-pop Lionel Richie hit, “All Night Long” (arr. Deke Sharon), with wonderful soloists Jaclyn Brown and Hugo Dowlen spicing it up with improvisatory riffs. The ensemble hit their groove, with several dancing as they sang, clearly enjoying the catchy rhythms of this pop classic. And what fun it was to hear the Beatle classic, “Here Comes the Sun” (George Harrison, arr. Kirby Shaw), sung as an up-tempo jazz chart!
Several selections particularly tugged at the heartstrings. “You Are My Sunshine” (arr. Vicki Uhr), in classic barbershop style, was breathtaking, especially in the climax of the final measures with a pedal tone held for what seemed like forever as the radiant harmonies progressed in twists and turns before settling into the final chord (again, with those overtones ringing!). The lush arrangement of Kate Rusby’s folksong “Underneath the Stars” (arr. Jim Clements) was beautifully rendered, featuring a lovely solo by Clarice Friedrich, filled with rich harmonies that evoked feelings of regret and loss – “go gently” was the repeated refrain, and was sung with great tenderness. “Sure on This Shining Night” (Jay Giallombardo) was a harmonious setting of James Agee’s classic poem, creating a contemplative sereneness that washed over the audience, evoking the wonder of a brilliantly starry night amidst the darkness. A well-known Billy Joel tune, “Lullabye (Goodnight My Angel)” (arr. Phillip Lawson) featured a heartfelt solo by Rosanna Dowlen, and was interpreted with great sensitivity by Dr. Adams and the singers.
The Triangle Vocal Project’s mission was fully realized in this performance – to elevate the choral art form while giving back to the local music scene through charitable contributions. The TVP members covered all chorus expenses so that their performance was to the benefit of others – both the exceptional quality of their choral offering and their substantial support of other choral musicians in the community. The audience was encouraged to give generously to the organization chosen as the recipient for this performance – the Durham Children’s Choir – Dena Byers, Artistic Director. The chorus performed three engaging and exuberant pieces, “Sesere eeye” (arr. Matthew Doyle), “Famba Naye” (arr. Victor C. Johnson), and “It’s the Most Wonderful Time of the Year” (arr. Alan Billingsley), accompanied by Jeff Whicker. It was a joy to see and hear this accomplished youth choir, grades 5-12, expertly and passionately led by conductor Dena Byers. Performing intricate harmonies and rhythms with accuracy and precision, their faces and bodies communicated the mood and meaning of each piece with expression and musicality. Adding additional vibrancy were the choreographed movements included in the performance that were truly a delight. Even as developing choral musicians, their skilled performance was of high caliber and quality and added sparkle to an overall outstanding choral experience.
