This recording from one of North America’s premier professional choirs is a welcome addition to the choral catalog. From the thoughtful programming–worthy yet little-known pieces from several of today’s best choral composers set between important works by Britten and Bernstein–to the agreeable sound and informative liner notes, this recording offers everything you’d expect from any excellent concert, without the coughing and crackling candy wrappers. Given its eccentricity, Benjamin Britten’s cantata Rejoice in the Lamb has fared surprisingly well on recordings. But it’s a uniquely charming eccentricity in which the music perfectly captures the imagery of the unconventional texts. Britten’s own recording from 1957 (Decca), and more recent versions from Trinity College (Conifer) and the Sixteen (Collins) are most notable. This performance graces the field with its singable pace and technical polish; but it’s slightly less effective in executing the textual inflections and rhythmic impulses. Bernstein’s equally charming Chichester Psalms, cut from the same innovative mold and commissioned by the same Walter Hussey who commissioned Britten’s cantata, are given solid, assured treatment–just the right combination of show-biz and reverence. However, most listeners will find the rest of the program–including beautiful mass movements by William Albright, Egil Hovland, and Rautavaara; a lovely “Pilgrim’s Hymn” by Stephen Paulus; and a captivating Biblical drama by Aharon Harlap–to be the recording’s real heart and soul. These works deserve to be widely heard, and it’s here that the choir shines most brightly. Dale Warland does the right thing using soloists from the choir for most of the pieces–however, I’m not convinced that a mature male soprano (25-year-old Michael Maniaci) adds anything but novelty to the solos in the Britten and Bernstein.
