Writing reviews is getting more demanding these days.
My last one was a shared review of a concert and an album, the current one is supposed to have a view on two, if not three concerts, because I didn’t manage to write an Ely review. Here are my thoughts.
In Brighton a presence at the sound check was said not to be possible, which resulted in a reduced flock of four fans luxuriating in the church’s anteroom, in contrast of the sardine can feeling we experienced in 2018 because of the pouring rain outside. Every once in a while some curious tourists approached the church and we used the opportunity to advertise the concert. Not sure who actually came back to attend at last, but several of them were quite interested and thankful for the information, so maybe ...
During Chichester’s sound check, there was a 10 seconds lasting rumour that Daniel Catalogna was back, which immediately made me change the set list in my mind shifting
Angele Dei in and and
Orinoco out, as I found the latter to be the least of a loss. But alas, it remained a rumour, Daniel C. has left and I extraordinarily regret that, because his outstanding start and development up to Ely had piqued my curiosity about what would become of his voice in the future.
Apart from my personal love for sound checks, which includes the warming up exercises, I’m in favour of keeping the church open to the public meanwhile. Because it is the best marketing means, when there are still tickets available. We fans, who hang around there, hopefully do not bother them and other church visitors who aren’t familiar with Libera can be tempted to change their evening plans to attend a Libera concert. Libera can only gain that way.
While I cannot say for sure that I preferred the Chichester acoustics, as both venues were well suited for Libera’s sound, the Chichester concert presented better solos. Was it the calmer mood due to some tiredness from the evening before or rather the confidence resulting from the successful Brighton evening? Probably both. For the newer members it was certainly good to have two directly consecutive concerts. How would a third concert have been? Unbearably perfect probably.
So, my ranking is that the first night the second half was better than the first and the Chichester concert was better than the Brighton one.
One thing I was less happy about in Chichester was my issue that some of the vocalises weren’t loud enough and as a result blended with the choir to such an extent that it was too much and they were sometimes not distinguishable for me anymore.
In Brighton one boy was busy all night. Not only with singing. There's a plenty of room for other activities, too, when performing a Libera concert. He had to control if he had the right position and if he
really had the right position. Where do I stand, where do the others stand, am I in the line and does everything fit and there’s much going on here and what is the light currently doing there above and I am wearing a white robe. It was very adorable.
It was superb to get
Vespera,
Salva,
Voca Me,
Libera and
Lux Aeterna all in one concert! For me, it can gladly remain that way. My weekend top three were
Lux Aeterna,
Voca Me,
I am the Day.
Vespera
Oh, how I love this song! At first the “Te lucis ante terminum†chant, and then those chords by the woodwinds with special emphasis on the clarinet I love them - they never fail to spread this intensely friendly, bright, protected feeling out in me from my head to my toes and it remains throughout the entire song. I’m so grateful to Robert that he gifted us with this composition.
Luca was the soloist and he and Nathan form a marvelous team here. Actually during Chichester’s sound check in particular, when I was sitting in the last row, I noticed how exceptionally well their voices harmonise. Luca as the reliable singer he always is sang a crystal-clear solo.
Nathan’s voice is very beautiful, light and agile, so he managed his parts effortlessly. I’m convinced that one day he can be entrusted with
Voca Me’s vocalises, which require such slenderness and flexibility. I’ve quickly become a fan of Nathan’s voice and look forward to what his musical future will have at hand for us.
The song was - to speak with Libera: unsurprisingly - purest enjoyment and it caused me goosebumps just due to being such a wellness song.
Only ... its position in the concert.
Like in earlier concerts, it was the opener again and afterwards you spend the entire further concert without it. Maybe I’m alone with this, but I’d prefer another, “less important†song to start off the concert. To defer the best for a little while, so that the anticipation can stay with me (Surpinto and Celtic: NO!
) longer.
Sanctus
Sanctus is just
Sanctus.
Let Me Make Songs
This song would make the better opener, I think, a strong announcement of what is to come with its energetic, emotional music, reinforced in particular by the haunting sound of the French horn. Although it’s not the most interesting song in terms of the composition, it captures me every time. I love the loudness and the power, but no less the part where the music turns intimate, ending with those moving lyrics “and girdle the world with peaceâ€. Goosebumps!
And more goosebumps in Chichester, when they stood looking all into the same direction – an emphatic statement for them belonging together as a choir.
Lighthouse
The surprise of the evening was getting a composition by Josh! I have been following his musical activities for quite a while and like his style. Adequately as being composed by the Libera pianist,
Lighthouse started with the piano and then we heard a song that consisted of a variety of parts forming a consistent whole. The beginning solo was sung by Luca with piano accompaniment and already now Josh shone through it: light and jazzy harmony progression and a very nice small, sudden swerve in Luca's melody (suspension). I remember that the song totally relaxed me. I liked the interesting, swaying harmonies that came down at last to a calm ending point to the words "to the one who's always there". Well thought-out! These were the only words I consciously heard, while I otherwise just sank into the music. Later it went into the Latin jazz area even more, a musical style I love very much for that mentioned relax it brings.
There is a double duet in this piece, which was performed in the refined way of crossover standing duet partners: In Brighton the four participating soloists stood at the front in one line, in Chichester, due to the lack of space, they had to arrange their positions in staggered manner, and the order was Victor - Daniel - Luca - Morgan. They sang the duet parts alternatingly, first Viktor/Luca, afterwards Daniel/Morgan and then started again. Great idea and very nice to hear and to watch! If I remember correctly, the song ended only with these four and on a long a cappella chord.
All in all, apart from my personal liking of
Lighthouse, it is not really Libera's main style, but very much Josh's style. I do favour Libera singing also this type of music and I was happy to hear them sing it, but with the emphasis on "also", because in my opinion this style, as much as I love it, should not cover too large a part of Libera's repertoire. It was definitely a win for this concert though, and I hope it will remain for a while. Certainly we will find it on their next album.
If
If is always irresistible. The higher parts, where in earlier cases I noticed some pressing, were mastered by Daniel with fine control. I think he gets quite emotional by this song too and this fact along with the extra-length of the solo and probably the voice change coming into sight are not the easiest task to master. I admire Daniel for this song!
What I extremely strong sensed this time was the insistent meter (or is it called measure? I mean that regular beat throughout a song, not to be confused with the rhythm or the time signature), which is an explicit part of the arrangement and which
in an earlier review I interpreted as human heartbeat. While in the first verse this was still quite discreet, it urged into the foreground in the second verse, incessantly marking the beat on the way through the song or – through life. From my seat I heard it mainly being played by the piano. It was very stirring and left a huge echo in me, and I understood it as an encouragement to use our lives for what is really important: love, kindness, care.
Salva
This song is always one of the best and one of my favourite Libera songs for all time. I’m very relieved that it’s in the set list again, because a Libera concert without
Salva is just not complete.
Joseph sang fantastic Salvas, I like his voice a lot! Once after a Salva he, in dreams, continued to sing the normal verse together with the choir and then realised that it was not his turn, so he shut his mouth to open it again just in time for his next Salva.
Salva was one of the examples, where the high notes in Chichester were not loud enough to sufficiently set themselves apart from the choir.
Sing For Ever
I hadn’t been much into this song before the Ely concert, but there it was one of my highlights! What a difference a life performance can make! While in Ely the song sounded more relaxed than in Brighton.
Joseph and Nathan shared the solo, both very good singers with beautiful voices as mentioned before. But while they seemed to struggle a bit in Brighton, all was compensated in Chichester, where they delivered a much better performance. Especially Joseph’s voice at his second entry was so strong, steady and clear that I couldn’t believe what came out of this 9-year-old child. I like to hear Nathan every time, but in my impression he felt much more at home in vocalises than in verses. Vocalising is his thing! Definitely a beautiful duet with an inspired choir.
Always With You
Morgan has the main solo in this song. His soft voice suits it, so it sounded lovely. He and the flute which joins in the second part, complemented each other not only in tune, but also blended amazingly in sound character.
And then Thomas M. caught me by surprise fun with his treatment of the vocalises at the end of the first verse. While he sang their first part just as we are used to, at the end he tossed them upwards like balls, which sounded funny and sweet.
He did that too in Chichester, but not as distinctly.
The second time Joseph sang the vocalises, and as the choir moves at that point in the song, he had to sing them while walking and managed that without being troubled at all, those vocalises just came spot on along his way.
Stay With Me
Thomas M. and Luke share the solo parts, alternating and then singing in unison. Laurence’s vocalises, which in this song are long, were fabulous! All three soloists were fine in Brighton, but better in Chichester.
Voca Me
At the start of the song, the boys stand on stage facing different directions which fits the intro well with its harmonies resulting from and flowing into each other.
This song is still my absolute favourite Libera song, it just always mesmerises me! I was so happy to have it back in concert, even though I prefer its original version, because the “kick†at the first verse is missing due to the Latin words’ rhythm. But it doesn’t matter much: the main thing is to get
Voca Me as often as possible and they could with full right perform the long version, as towards the end there would be more room to build up the tension. The climax was so loud in Brighton and Chichester that it made me smile, the drama of the piece was unleashed with vigour. Brilliant, boys!
Regarding Luca’s vocalises, I was more convinced of him in Chichester. In Brighton they sounded ponderous in a way and in favour of a good balance between the song here and the vocalises there, which I feel as a contrastive element in this song, I would have wished them to sound more remote, elastic. While I can well imagine that this may be considered the exact opposite way by other listeners and so, if anyone disagreed with me here, I’d understand their view too. In any case: In Chichester I liked Luca better on these vocalises. His voice sounded pin sharp and very precise here, with which he clearly added to said drama.
The choir sound was extremely transparent in this song in both concerts. A superb performance!
Libera
Another all-time favourite of mine. Stunning lighting which reached far behind the choir screen and gave the song a great depth. But before they began, they brought the best non-sung part of a Libera concert ever by demonstrating its 7-harmony part with Daniel conducting them, accurate conducting! This marvelous idea was started in Ely and is not to be missed.
- Interval -
Lux Aeterna
My Brighton seat directly at the aisle couldn’t have been better, as the boys walked to the stage along the aisle, singing the initial „In paradisum“ chant with the much appreciated chance to hear their voices without mics. Then the second part, still intro, where the choir sings repetitive, interlaced “lux aeterna†phrases, raising the tension more and more ... then fade away, and while I still felt that unrest, Morgan started the verse and wow, the shadows vanished and sun was there! How successfully the sudden contrast was achieved here! His voice entered so gently, so innocent as it’s still a bit childlike, that it was just like spontaneous relief: All uncertainty was gone, all was friendly and benevolent, no room and no reason anymore for fear. This was very striking, especially in Brighton.
The rest of the song is history: another light-bath song like
Angele Dei, with harmonies soaring above, sparkling all over like light that breaks a thousand times in crystal water drops.
In both concerts as well as in Ely I noticed that after this one the applause did not begin directly. Only a moment later, but still noticeable. I like to imagine that the audience feels the impact of this song so strongly that they are unable to clap right away. But maybe it’s simply that, due to the withdrawing final line, one isn’t sure where the song has ended.
Orinoco
I have a high stack of song suggestions available to fill the place of
Orinoco. ;P
Ave Maria
The decision to have the solo sung by three soloists in unison still riddles me. The first time it looked like Lewis felt more comfortable with the support by Daniel and Victor, but now ... I don’t really support this handling, as in my opinion the song needs a tenderness that can only be reached by one voice. The solo lines would touch me a lot more if Libera returned to that. The imploring attitude, though, was conveyed very well by the choir and the instrumentalists. Beautiful phrasing in the choir and I love the strings’ pizzicato play in this song, which perfectly fits the delicateness of the song.
Far Away
Ear-pleasing song with a very nice melody and arrangement, but nothing special. Luca sang the solo with routine.
Sacris Solemnis
Freddie has that very own singing style, which for me sometimes could be a bit less. But there was that strange experience in Brighton ... Interesting how surprises can always wait for you. When Freddie began his solo, I was at first busy figuring out what it was that I heard: a strong vibrato? Or rather a tremolo? It sounded strange to me and then I noticed that at the end of the lines the sound somehow “flew awayâ€, like dissolving in the free space. I found that fascinating and it fit the piece, exactly because it had something mysterious.
After his initial solo, Freddie stepped back to join the choir line. From that position, he later sang the final „gaudia“ – and interesting enough he sang this part in a totally different style now: no vibrato, but straight, strong and full of conviction. It sounded just like a final statement and it was really, really good. Very attractive solo exactly through this unusual and differing singing.
I’m no fan of the song itself, but this time I waited for it in Chichester, hoping to hear it again and curious if it would have the same effect on me. However, this night the first part was more “earthlyâ€. The vibrato was noticeable, but different today and the notes didn’t seem to be drawn away into the room like last time.
Beati
Another surprise composer was Raoul Neumann with his
Beati. On Twitter, Libera had released a rehearsal snippet upfront that didn't impress me much tbh, as I found it too much pop-like, but I had only watched it once and assessments are not to be based on a snippet. I trusted in liking the song as soon as I'd hear in full. Who wonders that it worked.
All three new songs are wonderfully different. Additionally and worth a note,
Beati is written in a bouncy 6/8 measure, which is quite unusual in the Libera repertoire, but as a whole I heard a union of vivid modern style here and typical Libera style manifesting in the harmonies there. The two soloists, Luke and Nathan, started by echoing each other. And to my great joy the back row got some room for shining for themselves!
What captivated me most in these first performances was the choreography: Fitting to the ever-changing harmonies and the lively spirit, they changed their formation all the time: came together, strove apart, modified something, until at the very end they all came to the middle to stand in a tight, compact rectangle to strongly sing the final words "integra est!". It had to happen quickly, because shortly before they still stood far apart, and the effect was incredible.
Come My Way
This song was new in Ely and I like it, while I must part this like a little. I’m not really fond of the verse. It reminds me too much of the typical style of musicals, so that part soundspleasant, yes, but it’s just rather conventional. However, the second part changes that and immediately drew me in already in Ely. The transition to the refrain harmonically indicates already that it’s now becoming interesting and it remains that way, so the refrain was where I found Libera. While the main tune is being sung, other voice parts unfold downwards underneath the main part. I love that! Also other voices came to accompany by a regular “ah – ah – ahâ€. Very attractive. It gave this basically quiet song an energising note, a highly successful arrangement! I liked it in Ely as well as in Brighton and Chichester.
Daniel sang a sensitive solo. The most important job in this song however is done by the choir, because their accompaniment is so versatile, interesting and uplifting.
The aesthetics of lighting
I’d like to use
Come My Way to compliment Luke Avery on his terrific lighting in Chichester! It was fine in Brighton’s church as well, but as a Cathedral, Chichester possesses that beautiful choir screen (jube? jubé?), whose bows, constructed in two rows, form the ideal scenery to create amazing images. Such architecture allows the light not only to draw pretty images, but, more important, widen the sense of room into the back and thus also widen the songs’ meanings in a particularly perceptible way. Normally appreciating, but still neglecting the lighting much in favour of the music, I was all awe this time. Here and there the lighting even caused tactile sensations, because, when the bows for instance were rose-coloured with a white frame, I almost tasted raspberry-vanilla ice-cream or an artfully manufactured cake.
The most haunting lighting effect in my opinion took place in
Come My Way.There is a chandelier in the choir stalls in the back, which was illuminated in a way that it sparkled and twinkled, while the surroundings were completely dark. (Remark aside: During the song the chimes were played and especially this sound at the ending while looking at the chandelier was the perfect eye-ear match.) I couldn’t take my eyes off that, while I listened and it was really like a guiding light that still lives on as dark as life may be, and there’s no reason to lose hope as this light will be forever. Very suitable to a song called “Come my way†and its lyrics - - - and noooow, while I’m having a look at these very lyrics again, I see that in the lyrics a comma is set between “Come†and “my Wayâ€. I hadn’t identified that it’s about Jesus being Way, Truth and Life. That’s quite a difference now.
I had interpreted “come my way†as an encouragement coming from God to follow him. But perhaps this is only Genglish.
Anyway that light in the dark, which was emphasised as distinctly as beautifully in the concert, still fits the meaning. I don’t remember if there were other songs with this technique. At least it was most striking here.
Grateful Heart
This song has never really crossed my way before. Was it always performed as a solo piece? The choir stood with lowered heads and I couldn’t see nor hear anyone else sing except for a discreet second voice by Daniel.
While Luca was singing beautifully and with devotion, I couldn’t help thinking that he was the exactly right one for this song, for how could someone gifted with such a voice of silver shine and such a singing talent not be grateful from the bottom of the heart! He finished the piece with an incredibly long-held note, just glorious!
I think that taking Luca with a solo song of this kind into the programme was well thought-out.
I am the Day
This is a very interesting piece: different moods, enigmatic, bright, flourishing and going back to the mystery, a real dramaturgic construction.
At the beginning they all stood there with their heads bowed down, while Morgan sang the solo. With “I am the alpha and omega†more movement got in: more choir singing, more choristers lifted their heads. For “Illuminosa†they were all present then, very well fitting to the word itself, which was accordingly underlined by the lighting, and the sound was one to sink in. The mysterious whisper solos were done by Daniel, Victor and perhaps a third boy.
I am the Day was sure one of the best songs in both concerts, equally overwhelming.
Encores
Sing .
That’s the song where all tension falls of and the entire Libera bunch smiles. I’d love to see more such relaxed smiles already in the songs before. During the intro, Morgan and Victor stood at the stage’s front, face-to-face and laughing to each other all the time. Uplifting!
To sing “Lilililibertate†must be a real challenge and you could see them literally work with high-speed movements of their mouths. That looked so funny! I also love to watch Victor who rather dances than walks to a new position on stage.
Smile
Smile gave me one the most precious moments of the concerts: Victor, whose signature song it always had been and we all know why, stood in the front together with Mitchel, a newbie. Victor started the song just as usual, but after the first section Mitchel suddenly continued and Victor joined again later for the duet’s second voice. It was practically a long-established soloist handing over a responsibility to the next generation. Such a charming idea! The way this was executed touched me a lot.
Mitchel is an astounding soloist. He was very good, and he did smile. His singing style gave the piece an own character already, quite interesting and pleasant to listen to. His voice is clear and distinct.
Especially in Chichester I loved watching him sing, because he looked so relaxed, in dreams, fully content! I imagine that he had received plenty of deserved compliments, and so he could let himself just fall into the music and enjoy. What a feeling this must be!
After the lively
Sing which caused frenetic applause, the thoughtful
Smile was an appropriate final song to calm the audience down again, have them accept the concerts’ end and go home pleased and with a smile.
Miscellaneous
The position of the orchestra members in Ely, sitting in one row along in front of the stage, brought chickens on a perch to my mind, and I found them being treated like a mere scenery for the choir, although they provide such an essential contribution to the whole. In Brighton the feeling was better – my memory may deceive me, but I think Ely’s stage was higher and so the musicians were less in the field of vision. In Chichester all was different anyway: Due to the small stage, the orchestra sat in blocks.
Joseph: The entire evening in Brighton I often caught him moving along to the music, although restrained. You could tell that he’d have liked to do more in this regard. He seems to have a good feeling of rhythm or music in general resp., which is no wonder. Very nice to see.
Morgan: He always seems to be at peace with himself. I was happy to see him complete the trefoil of the super-experienced Daniel, Luca and Victor to a four-leaf clover in
Lighthouse. He is a reliable singer, always knows what the current task is and never seems nervous. I can well see him guiding the younger ones in the future.
Ethan H.: He is a newbie and it was an enjoyment to watch him. He was very focused and awake and he sang with all his heart. Certainly he loves to be a part of the choir.
Regarding the speeches: I love them all! They form an important part in a Libera concert, they announce, inform and make us laugh, and they are mostly admirably well performed by the boys. Speaking well is also a skill. Therefore (looking over to The Furby
) I advocate providing an own mention of them in the individual concert listings of his fabulous Libera database, as they’d deserve it.
Lewis brought out the “If†pun much better than in Ely, he emphasised the word more and made a small pause, so we, the slow-minded audience, could comprehend and Lewis received the proper laughter.
Although Laurence went through a few minor mishaps during his speeches, he continues to be my favourite speaker. His speaking voice is just perfect for my listening pleasure: in register, sound, tone and tempo. Always happy here when he gets ready for a speech.
My highlight in all three Ely- Brighton-Chichester concerts was Daniel’s announcement of the following song being called – oh the fortunate coincidence! –
Libera: “just in case you’ve forgotten who we are.â€. Yes, that’s always quite a worry: to sit in a Libera concert and have no clue who in the world those people on stage are.
Many thanks for taking the matter in your hands!
Especially in Ely Daniel mentioned that so casually that I had to tell myself very sternly not to further think of it or I’d burst into laughter and disturb such significant song.
Thomas SH then had the unpopular job of informing the audience that the concert was coming to its end. Our pain was reduced however by getting two (!) encores, which was such a great surprise in Brighton. In Chichester we were already used to the new style ... well, in Cologne we say: “The first time we tried it, the second time it's a tradition and the third time it's ancient customs.†So this must sure be maintained!
Yet, audience, be warned: Two encores mean three standing ovations, so everyone please see to be trained fit for a Libera concert.
In one of the speeches they revealed that a new album is underway to be released in 2023 with “lots of compositions by Libera membersâ€. It’s a wonderful thing not only to have a large pool of good singers, but also of skilful composers to provide enough musical food for Libera’s future. A superb highlight for me would be a (re-)visit – I’m aware it was never performed live – of the phenomenal
Touch the Sky, of which I’m convinced they’re able to sing it live, while I also feel a hopeful spark that Ben See is going to be among those mentioned composers.
Moose has advanced from their mascot and from being the most traveled moose in the world to also being Libera’s executive producer. So, under the professional management of Moose, I have no idea what could go wrong with the upcoming album.
There were several small, but fine changes, not radical which is good, but some adjustments here and there, such as the addition of another encore or how they passed the solo on to the successor. So they gently try out new ideas and other musical styles. As their name Libera expresses it, this is completely rightful, while I hope that they generally take care to never let go of their “unique selling propositionsâ€, which Koji to my joy and ever relief partly lists in one of the speeches.
Things to compliment on
All. But particularly the dedication which each and everyone, the choir members, the orchestra, the two musical leaders, the staff invest into Libera. As sad as it is to leave after a Libera concert, it nevertheless happens with a bright feeling, relaxed and inspired at the same time. Thank you all!
