Libera Dreams

Hi guys ! I finally took some time to write my concert's review ! As usual, I wrote in in french first, so I hope the translation won't be too bad.

If I counted right it was my 7th concert, already. It took me time to write the review so I hope my memories won't be too blurred. I say it was the best concert I attended along with the last Ely's one. I had many highlights. It might be that, the weather being far better, and having spent time with friends, it makes it even easier to like !
Since I am really bad at remembering speeches, when they come, what they are about, and also the boys positions, this won't be exhaustive, sorry.

The concert started in a strange atmosphere, I had never experience, surely since we were in a concert hall, not really a church, and Robert Prizeman could not get to his seat unsean, so he was applaused and everyone went silent, waiting a few minutes for the boys to enter stage. This silence was peaceful, charged with expectations, and eventually it was a warm silence.
Then four boys entered if I do not mistake, Oliver Watt-Rodriguez on the left, Daniel W on the right, and in the middle, Peter K and Alex G. In turn they sang their parts of the Do Your Hear What I Hear's introduction. Oliver and Daniel seemed a bit anxious, and their first lines weren't really straight, but it still was mysterious. While they started the group entered slowly, and when they sang all together it was perfectly perfect ! Very professionnal entrance !

What Child Is This came after that, Daniel and Ben B dueting the solo parts. I love this song, very soft one that makes me enter Christmas' spirit. I found that Daniel's voice whith some air in it fits the song. Ben is very good lately, that is impressive since he is now a grown-up soprano voice ! About the choir itself, I think this song is representative of they capacity to be united, despite the multiplicity of voices and melodies. Powerful end, too.

In The Bleak Midwinter isn't one of my favorites from the new album, but I already heard it live last year, and I knew it would work better on me when sang live. The record I always find melancholic, and it depresses me a bit, which I do not need at Christmas time ! Well, when they sing it live I find it warming and family fitting. I cannot explain the difference. That being said, I adore the last verse, the lyrics are so powerful, and Dominik was impressive with his rendition - all concert during, that is. It happens that his mother and little brother were seated right before me, and I could feel them being tensed and very supportive for him - him being absolutely confident and relaxed ! Dominik was a 300% there in every note he sang, that night.

The Angel Gabriel, then. It is one of my favorites from the new album. Curiously, despite having accumulated a lot of experience, I still find Victor a bit stressed on his first solo lines, which surprises me since he is so good. It always gives me the wish to encourage him. Of course his solo was perfect, and his voice fits the piece very well, light and shiny.

I do not remember a lot about Gaudete, other than being surprised that they were singing it already (I barely consulted my program during the concert, just enjoying the rythm of music), as we had a few slow songs, and this one was cadenced. I barely had time to notice that Ben was doing the solo - it was over. It was the first moment during this concert when I wanted to dance, and the first one when the boys got the flow, balancing with the rythm (you know what I mean ? white robes slowly moving like the wind !). It might also be at that time that I realised that, since the scene was a bit small for the number of boys, there would be few choregraphies, and I like it when they do some. I noticed also that Samuel-Francis wasn't soloing anymore, maybe his voice isn't up to it anymore... Anyway like I said before, Ben B was excellent.

Angel followed, very calm sea after the storm, along with Daniel's soft interpretation. It is a song that often moves me, they boys seem so united, particularly the "proces angelorum gloria" part. My personal interpretation of that song is that it is reflexive, it talks about Libera, about what this choir is and brings to the singers and the attendance. I do not know if I am clear but it is a song that makes me think about what Libera is. It always feels like, even though I am seated in front of them, I can feel what it is to be among them and sing with them, I feel this happiness.

In Paradisum was maybe my less favorite part of the concert , but I know it is due mostly to my own experience. Oliver WR and Dominik were superb, that is a combination we already heard and liked. But I had my head somewhere else somehow, I suspect that the song reminds me difficult times of my life. It is the only song that made me cry for real when heard live in Ely, and I think my subconscious decided on not really listening the song during the Christmas concert, because it was easier This song brings something intimate I like better to hear in my audio cask, alone.

Sing Lullaby came after that, and I was impatient to hear it, since Dominik's solo had been praised since Japan, and though the album's record wasn't THAT special. Well, live, it really was special, a lullaby, but a lively and impressive one, with infinity of parts and melodies crossing each other, completing. It actually made me think of a cathedral with pilars, conterpilars, reaching the skies. The illusion of sound coming from everywhere was reinforced with the position of the boys, everywhere on stage. I was litteraly absorbed by that song, and since I heard it live I am moved a lot more when I listen to the record. Nevertheless, it is still the one piece of music from the last album I CANNOT SING, even when given the lyrics, the arrangement is too complex, it cannot catch it, which is both frustrating and impressive !

Poor Little Jesus was a choc . I liked it in Arundel, but no more, since I did not know the song and I couldn't remember much about it afterwards. Of course since then the song grew on me, and I find that Libera manages something very precious about that song : silence. Silence must have room between some sentences, and this arrangement isn't rushing in it, on the contrary it is very well balanced. The end is spectacular, leaving us with Luca's solo (that boy is such a good singer you barely believe he exists, nine years old, small boy on stage... goosebumps !), and then silence. The third verse and its high parts is really moving, too.

Ding Dong Merrily on High was exactly what I expected it to be ! I have a funny story with that song, because when the new christmas album was announced, on the french website we speculated about the old songs they would renew, and maybe new songs. I announced that Sam Coates would make a wonderful song out of Ding Dong. I was so right ! I expected a less linear disposition of the boys on stage. And maybe some choregraphy. They where positioned in half a circle, with a double line on the middle with the tall boys. But yes the song is lively, but also very difficult, it might be that no matter the stage being little, they simply were more comfortable like that to sing this complex piece. This song is like a ball being knocked from side to side by the boys.


ENTRACTE (very well deserved !)

The intro to the second part was a surprise. The older boys (Leo, Alex G, Adam, Peter, Alessandro, Alex M, Taichi I think) entered the stage and gathered in hald a circle around a mike, on the right part of the stage. They sang a part we know from Sempiterna (https://www.youtube.com/watch?v=LOhjlBZfTEU from 1:00 to 1:40) in one voice, deep voices. The rest of the group entered slowly and positioned in a wide half a circle to sing Carol of the Bells. The link between those two songs might be hard to imagine, but it was really nicely done, mysterious atmosphere. There was no Carol of the Bells solo intro, and I am unsure there was a choregraphy, but maybe just boys turning a bit on the chorus ? Neo and Ben B did the vocalises, and little Cassius rendered the last words, with a little change of rythm (a bit like the one you car hear on the very new clip https://www.youtube.com/watch?v=SQadcm_dwEM but I say it was even more emphatic).

I was surprised to find Angele Dei in the set list, but happy. Dominik's solo is breath-taking, his voice is less warm than Rocco's, but has a purity that brings tears, with his usual modesty... Definitely a highlight.

Then came the very expected Walking in the Air, with brand new star Luca, standing in the middle, barely higher than the other boys knealing behind. He does not disappoint, he was better than you could even imagine when you haven't heared him live before. His voice has a purity, maturity, deepness and an accuracy just unbelievable for his age. It makes you wonder what he could do later, or if he is goin to be a shooting-star in the sky ? A very shiny one anyway. It was mentioned during the speech before that Howard Blake himself authorised the new arrangement by Libera. I suppose this revival must be powerful for him. I read a review from a fan wondering why the boys were knealing even though the song isn't religious. I have the answer, guys ! Luca is walking in the air, the other boys are the people below not believing their eyes ! Makes sens !

Then came Sanctus, a lonely piece without its forever friend Libera, not sang ! And... I do not remember much, sorry. I was recovering from the previous song, and also Sanctus was an "ordinary" song in this program that was mostly and almost exclusively new songs. I suppose I catched the opportunity to breathe.

O Little Town of Bethlehem was an other song I expected highly. Some fans said they were disappointed with the song being the american arrangement, but I did not know the song before, and also I really like Oliver WR's solos usually. This piece is melancholic but soft, soft, it feels like walking on velvet or drinking hot chocolate. Oliver has this special way of singing with his head on the side, like he is dreaming, very cute.

Wexford Carol was the next song, Tadhg doing the solo. Tadhg was ill ! You could tell from the way he talked through his nose during speeches, also he has a red nose and looked a bit tired, of maybe frustrated that he could not enjoy fully the concert ? Nevertheless his solo was outstanding ! His voice is so special, I say he is one of the few Libera soloists with the most recognisable voice, very warm, a bit raspy, airy, and with a very discreet tremolo. Even though in the new album the solo comes at the end of the song, Tadhg did sang it at the very beginning, the way Isaac used to. This song is the softest ever, almost a lullaby, and you could tell the boys were relaxed, smiling inside.

And... Noël Nouvelet ! Of course I had been longing for this song, that did not figure on the Japan setlist. First time ever that Libera sings in french on stage ! Victor's pronunciation was even better live than on the record. I found the arrangement very lively, whith the tone changes, the main melody going from sopranos, to altos, to bass... It allowed us to hear voices we rarely hear like Joseph's, Mathias', Nathaniel's... The group was again in half a circle, with a double line in the middle. Victor was the first boy on the right line, and he stepped up for his solos. So did Oliver WR (left line) and Neo (right line) for their very beautiful duet.

Silent Night wasn't on the program, but I think they sang it at that moment ? It was the same boys as the album, Luca being the first soloist, joined by Ben B and Mathias, and eventually Victor and Dominik for the last part. It was amazing ! Luca is so strong, but one cannot forget that Mathias and Ben B were doing an impressive work. When I used to sing I enjoyed singing second parts, trying to fit the perfect harmony with one partner's voice. It is a very subtle word that Ben B did several times during the concert, and he is very good doing it. I suppose it is Mathias' usual work since his voice is deeper. There wasn't a flaw in this 5 parts song ! These boys are incredibly young and incredibly excellent too !

The final song was In Dulci Jubilo, a classic one that grew on me with the years, and the boys seem to enjoy it, they were smiling a lot, maybe from pride since they were reaching the end of the concert ?

The encore was I Saw Three Ships, impressive and rythmic ! A must have Christmas song for Libera now !

About the venue : Saint John Smith's Square is a concert hall rather than a church, and I enjoyed that. For practical reason (heated place, with toilets, comfortable seats) along with musical ones, for we were seated close to the boys, and we could hear each voice perfectly and sometimes even individually. This was also due to the orchestra being seated beside the boys, which must NOT have made it easier to conduct for Robert Prizeman. But the sound was perfectly balanced, the orchestra wasn't taking the lead on the voices, like it sometimes happens. Though, Eimear, the flautist, was to discreet to my taste, I like to hear her solo parts a bit more. Another "default" of the venue is that the stage was quite packed and, there were changes in the positions, dispositions, some boys being mostly on the right side and others on the left side. But nothing spectacular and sometimes Libera choregraphies are quite a plus to the songs ! The lights also, are better on churches' walls, definitely.

Before the concert, during the entracte and after, many goodies were on sale. I found the Christmas cards beautiful ! Also it was the third year in a row when calendars were on sale ! I like it.

Among the staff we spotted Kavanagh and Ciaran, but on the program we could also find Josh Madine, Steven G of course, and... Liam Connery ! I wish I would have seen him, he was a great soloist.

The boys were 42 or 43 ? on stage. Several groups, all of them not always on stage. We could see 8 newbies, 7 of them we saw in Arundel. Hal Avery still is the youngest, being 7 now. The oldest boys were 17. Romeo Tesei and Nick Taylor seem to have left the group.
We often talk about the soloists but... Oliver Mycka wasn't a soloist that night and yet he deserves a shout-out, since he was sick and rumor says he barely made it to the concert and even left stage on occasion. It shows real motivation, and acknowledgement. Soloist or not, the pleasure to sing that night you could see on every face, maybe since a lot of the boys had their families in the concert hall ? Luke BD, discreet one, catched my eye since he gently smiles and he is very focused. Dominik is so musical and impressive : I saw him sing solos eye to eye with his mother ! Cassius looks mischievious, still. Sam-Francis is dreamy. Laurence Davey, Jack Spicha, Neo and Frederick Mushrafi could pretend to the title of "new smile of Libera", but Calam would win, since he cannot NOT smile ! Felipe Jackson is now a full member of the group, even though he did not toured this year. I can't quote every name, but it matters that we thank all of the boys that did an amazing job. And a special thank to the tall boys, who I can imagine have a lot to do with, and do not have the most interesting parts to sing, but still they are here ! They must love Libera... I say loving Libera and listening to them brings more than just music, and they must certainely feel something like that.

A last word for the fellow fans : we share something it is difficult to explain. Being friends even though we see each other twice a year, live apart in the whole world, and do not speak the same language, is very precious. Than you all.

Thank you Padmachou for your review It made me relive that wonderful night and put a smile on my face
Yes, it's something special we share as fans. My friend who joined us for his first Libera concert later remarked that the fan community he met seemed to him like a small family
For the past few days, I sometimes thought back on the concert experience and it made me happy to think of all the Libera boys and their families, how they are engaged in such beautiful, valuable activities and how so many people are now sharing happy memories because of that.

General comments: This was my best concert by far because of the sound quality at the venue. I could hear individual voices while also hearing the blend. The singing itself was technically well done, and all of the boys had a good night. Every single one of the songs was up to par.


Do You Hear What I Hear
One of my favorite songs from the album, and I had very high expectations. In the introduction “echoing” vocalises, Oliver WR started first, followed by Daniel, then Ben. Strangely enough, I think the singing order was a little different than the album version, where Ben sings second and Daniel sings third.

It seemed there was no first starting pitch given, as in other songs the audience could actually hear the starting pitches given to the boys. Perhaps there was a malfunction with their earpieces, so the sound crew resorted to playing the pitches out loud for the boys after this first song.

Due to this error, Oliver seemed to have to find the starting pitch from memory! Impressively, Oliver was only the slightest bit off in pitch, and Daniel followed in an attempt to correct it even more. By the time the whole choir joined, the boys had found the correct pitch from the instrumentation and were perfectly in tune.

As for the singing, it was soft yet majestic, with the three starting voices balancing a pure and breathy tone at the same time. Even the crescendos and loudest parts of this song maintained a soft reflectiveness. An impressive song with lots of depth.

What Child Is This came afterwards. Daniel was incredible, even better than on the summer tour this year just five months ago. Ben’s voice blends particularly well with Daniel’s, they both have a similar weight and tone clarity.

At this point in the concert I noticed I was close enough (second row) to hear the individual boys voices, even the unmiked boys. In particular, I commend Matthias on having a particularly excellent night, despite not having any solos. He really led the third and fourth treble sections at many points that night. He has a warm, rich, powerful voice which blends well but is beautifully distinct as well.

Matthias and Daniel both have such strong and unique voices, but I noticed both boys adjusting their sound as soon as they noticed they weren’t blending. I’m sure all the boys do this, and it is not an easy task as it requires constant, active listening.

In The Bleak Midwinter was one song I found to be much better live, even though I loved it in the album as well. The whole choir was very tuned in and listening to each other, making the second and third treble harmonies in this song lock in especially well. Dominik sung his solo with exquisite tenderness and care. This is something missing from the recorded version which can only be picked up on by “feeling” him sing, so to speak. Dominik had an outstanding night, and I think he truly shines in live performances.

The Angel Gabriel
Victor started this song, and I agree with padmanchou that he was nervous. He struggled a little navigating his vocal break in between his head and chest registers, but otherwise sang very well in tune. I caught a little disappointment on his face afterwards, and I wanted to reassure him afterwards. He has such a good sense of pitch and his voice is so haunting and pure. He matches the solo perfectly, even changing his singing style to be less breathy and more clear in tone. I particularly enjoyed the harmonies and instrumentation in this song. This was another song where the choir really blended well and showcased its range.

Gaudete
Surprisingly, Ben did the solo! I noticed Sam doing lower parts this concert, still singing treble parts, but not with the high firsts anymore. Perhaps his solo was given to Ben because of this slight voice change. I remember it being very smooth and shiny. I noticed many of the boys singing with gusto, clearly this was one of their favorites of the concert.

I paid particular attention to Laurence Davey, since he was standing perhaps just 10 feet in front of me. Thus, I could hear him well. He has an assured and gentle singing voice, as well as a very accurate sense of pitch. It resonates really well in the higher registers. For nine years old, I was impressed by how much he’d grown since last concert. During the 2019 US tour, he constantly studied the other boys for help with entrances and pitches. Tonight, he confidently sang every pitch and looked at the audience full on the entire time. What an impressive improvement!

Angel was next, and Daniel has improved on this song yet again! His lower register, impressive at age nine, has gained even more richness and depth. Listening to his range, I would believe you if you told me he was already 12 years old. I remember this song being somehow lighter and happier than it usually is, likely due to the live singing. The instrumentalists were able to keep in time during this one without seeing Robert, a marvelous feat with such complex rhythms. The whole choir really showed off their low notes, even the boys who usually sing the highest parts. It was a cohesive, lovely song.

In Paradisum was incredible and one of my highlights yet again. I adore Oliver’s voice. It has a classic boy chorister sound, very bright, pure and clear on the high notes. It almost sounds like a bell, ringing with a spinning sound. Here is another boy who has an impressive range. While he normally sings the lower second harmonies, he is capable of the most piercing and soaring high A’s on this solo. I particularly like his pure ooo vowel which he ends the song with on his own, without any instrumentation. Spine chilling.

To my ears, this current version of the choir normally has a “young” sound, very light, agile, and blended. This lends a cheery quality even to some of the more somber songs. However, for In Paradisum, the boys really managed to change their sound and bring maturity and depth to their singing. This is true especially the boys singing third treble and the tenors, who make this song powerful. And of course, Oliver on the solo brought out an immense and large sound quality, even though his voice is a smaller instrument than Rocco’s, for example.

Sing Lullabye had to be one of my other highlights. I love the round singing with the different groups of boys and the beginning and end of the song. There were perhaps five different groups of boys, and each were stationed at a different place on the stage. The effect was an echo chamber of harmonies, but very well blended into one another. This melody was perfect for the choirs’ sound right now. It’s a very “sweet” sound, and the light and agile voices in the choir right now bring joy and hope to an otherwise depressing song. (Example lyrics: “Soon will come bitter grief and weeping …. soon comes the cross, the nails, the piercing”)

Dominik showcased his breath management, getting through really long and high lines without breathing in a stressful performance situation. As a singer, I would have struggled to get through those lines! Again, Dominik's soulful, delicate, and emotional singing really shone through. The way he emotes while singing makes his voice feel like the heart and soul of the music. This boy is truly capable of capturing the essence of the music and gently delivering it

Poor Little Jesus
What can I say. My favorite of the last concert, and just as good if not better tonight. The boys really excelled on the third verse, where the volume was loud but all the harmonies were well balanced in relation to one another. The lower voices were just beautiful, and Matthias and Alex Gula’s voices especially stood out to me. While the song feels acapella, I loved the cello line that gently supported them throughout. My one complaint: I found Luca’s mike to be turned up a little too high even before his solo, at the beginning of this song, so the sound was less balanced in the first two verses.

The solo was technically perfect. Luca has a really well developed tremolo which he is capable of using at the ends of phrases to shape his singing. He has brilliant breath control and finishes all his lines strongly. He can even change his sound a microsecond after Robert conducts him to, all while looking so calm he could be daydreaming. This is almost mind boggling to see in a nine year old boy who is the shortest member of the regular group.

Ding Dong Merrily on High was another song the boys really enjoyed. Some of them looked on the verge of dancing! The sound truly bounced off each of the sections, with the boys standing at different areas of the stage each taking turns with the melody line. At the end, Victor and Dominik had the counterpoint melody (the Ding dong part). Given they were standing far apart from each other, I was impressed they managed to stay together for such a difficult part! All the boys stayed together throughout the varying and very different harmonies.

Thank you gingerthedog1 for a really nice review You sure know how to describe each musical detail very clearly. I agree with your statement on Dominik, he manages to capture the heart of a song.

I'm also very happy with your observation of Laurence D. I also had the feeling he 'shone' more on stage than he did before. He has an engaged expression while singing that sometimes caught my eye and it's nice to hear from you the way he has developed his technique and style of singing. It's wonderful to be able to rely on your own confidence while singing and feeling free to look at the conductor and the audience without worrying you might miss something.

So, do you sing yourself?
And are you going to post part 2 of your review?

Thank you padmachou and gingerthedog for your reviews. I look forward to part 2, gingerthedog! Don't make us wait too long, please.

Both of your reviews captured the essence of the concert in your own individual ways. Padmachou with your nuanced details and ginger with your emotive descriptions. I love it.

Based on everything I am reading it sounds like the choir was totally on point with their harmonies, that soloists were in top form that night, with Dominik in particular evoking an especially strong response from the audience, and that the Libera touch managed to elicit a real emotional reaction.

This is wonderful and makes me very glad.

This concert was an outstanding performance on so many levels. Quite frankly, I don't know how they can get any better than this. So glad I made the journey to experience it.

Ding dong ding dong, that is my review.

Happy Christmas everyone.

maartendas wrote: ↑<span title="Sat Dec 14, 2019 9:09 am">5 years ago</span>

I'm also very happy with your observation of Laurence D. I also had the feeling he 'shone' more on stage than he did before. He has an engaged expression while singing that sometimes caught my eye and it's nice to hear from you the way he has developed his technique and style of singing. It's wonderful to be able to rely on your own confidence while singing and feeling free to look at the conductor and the audience without worrying you might miss something.

So, do you sing yourself?
And are you going to post part 2 of your review?

Yes! Second part is coming soon, and I do indeed sing! I really wish I had had the time to individually notice and listen to more of the boys, especially the unmiked ones such as Laurence! I love to give all the boys recognition, and unfortunately the non soloists don't get enough.

Sempiterna Intro

This was a huge surprise and I was so happy to see Alessandro on stage at age 17! I’m not sure anything like this has been done before. All the lower voices sang in unison. They all sing with such lightness, and really brought out the soothing and vibrant qualities of the cambiata voice. and the audience could give these older boys much deserved recognition. In a treble choir they are always underappreciated.

Carol of the Bells

This one was lively and really suited the plainsong atmosphere of the intro. For Carol of the Bells specifically, I think it was Dominik, Luca, and Victor as a trio who do the “Sooooongs” and “Ahhhhh” high vocalises. Victor occasionally does some of the high notes as well! (I have confirmed this by watching the music video)

During most of the other songs, Dominik and Luca usually did the high vocalises. Daniel, Neo, and Victor sometimes join Dominik and Luca on the high notes. This usually happens when there is an additional split harmony between the high first trebles and the firsts.

Neo had a vocalise which showcased his warm, rich, and mature voice. What a beautiful sound, and I’m lucky to have heard his first solo by himself in concert. Ben had the second vocalise and sang with a deep and rich sound as well, but entirely different voice from Neo. Two “warming” voices which complemented each other well. Cassius’s final part was haunting yet sweet.


Angele Dei

This was almost perfect to my ears. Dominik was standing so close to me I could look into his eyes, which was a treat for me! When he sings, his eyes are absorbed in the music and sort of dance along to the melody. For this one, it was clear that he was in deep reflection, truly reflecting the intent and meaning of each word he uttered. When watching him sing I almost felt like I was singing and praying along with him.
Dominik has really improved his breath support and vocal transition between his middle to higher registers, making the technical quality of his singing much better than the last time I heard him.

This was yet another song where the choir excelled in blending and the lower voices could showcase their sound. They created a fluffy and thick blanket of sound. The lower sounds highlighted Luca and Dominik’s highest notes, which were stratospheric and brilliant (literally, the sound had brilliant, shining quality)


Walking in the Air

Luca had a sizable solo for this one, and could not have done it better. We found out that he is still nine years old, which means he had to have only recently turned nine when he recorded his solo for the album.

He seems to never run out of air, even towards the end of the long musical phrases. His skilled use of a natural vibrato develops his sound wonderfully, yet he also maintains an innocence and straightness to his voice. Quite a dynamic combination. His voice is simultaneously mature and youthful. Another impressive feat is the range this solo requires. Luca really excels in his lower register, even though he is also frequently singing the highest notes. He has such control and depth in the lower notes.

This is another sound which matches the choir as a whole really well. The group was especially adept at balancing the dynamics of each voice part. For example, at times the choir as a whole sang softly to support Luca, but the lower tenor and alto voices were slightly louder than the higher trebles. Then, a few measures later, they seamlessly shift so that the higher voices are slightly more emphasized than the lower voices! This kind of precise dynamic control is used very consistently throughout all the songs, but is especially difficult to do in songs where the choir as a whole is backing up a soloist.

Sanctus

Strangely, I don’t remember this song! I think it’s because I was primed for a Christmas concert. Actually, the tune for Sanctus (Pachabel’s Canon) is a Christmas song in my mind since I’ve always played it on the violin for Christmas concerts. But, Libera sings Sanctus as an ordinary song year round! Nevertheless, I’m sure it was up to its usual standard.


O Little Town of Bethlehem

Since I adore Oliver’s voice, any song with him in it is bound to become a favorite. This one showcased his lower range, whereas In paradisum his higher. Oliver also has a magnificent range with stable and sweet low notes, pure and clear high notes.

Wexford Carol

Though fans around me pointed out that Tadgh was sick for this, he sounded in top shape. Tadgh has a uniquely complex and full sounding voice. It’s very pleasant to listen to. Whereas Isaac’s version was sweeter and simpler, Tadgh’s is nuanced with a stronger vibrato and more enveloping sound. The choir, as padma notes, was quite relaxed during this one and was particularly accurate in pitch. The instrumentalists really shone during this one as well. Impressive as they had such limited view of Robert.

Noël Nouvelet !

This was probably my favorite of this concert. It was my favorite of the album and I was not expecting to hear it live! Victor performed so well on this, his naturally bright and full timbre balanced by a darker huskiness in his voice. His voice is quite similar to his older brother Sam’s in this way, except a touch brighter and lighter! The haunting yet exuberant qualities in his voices eem made for this song.

I could tell by his small smile afterwards that he was confident and proud about his singing. I’m glad he got to sing this one second and end on a high note (pun unintended!), as he seemed less pleased with his first solo.

Matthias shone on this song as well, even though he didn’t have a solo. I could very clearly hear his voice since the harmony parts in this song were equally balanced with the melody. Well done, his sound is so beautiful and tender, yet blended so masterfully.

Neo and Oliver WR did a duet in the middle of this one. Oliver, who usually sings the lower harmonies, did the higher solo while Neo, who usually sings the higher harmonies, did the lower part of the solo! Quite nice to see the boys show off their capabilities throughout their range. It was perfectly balanced.

Silent Night

This was another surprise because it wasn’t listed! It was so well done that the instrumentalists clapped for the boys after this one. Every single boy performed so well in the quintet, but special mention goes to Ben, who has already mastered the art of harmony. It was so lovely that my ear couldn’t help but focus on Bens’ voice for most of the song!

Luca had excellent musical shaping to each of his phrases, using his vibrato and dynamic control to beautifully emphasize, then taper each sentence of the poem.

Matthias had a chance to shine, and his distinct voice was so strong and consistently full in tone. He wavered a little in pitch during the first verse, but steadied himself as the song went on.

Victor and Dominik joined in and took on the middle harmonic lines. I could hear these two boys better live than in the recording, and their singing was definitely more beautiful live!

Victor’s steadfast and smooth voice really complemented the lullabye-like sound of this song. Dominik’s lighter and smaller voice lent a fluttering and lifting quality, rounding out both the deeper voices and Luca’s more intense and richer descants.

A wonderfully blended mosaic of unique individual voices, these five really worked well together. I know in Japan when one of them was sick, the whole song was omitted. Each one is essential, just as every boy is essential to the Libera as a whole.

In Dulci Jubilo finished the setlist, and was quite a nice break for me…. I stopped analyzing the music and tried to just enjoy it! Thus, I’m afraid I can’t give specific musical details as I usually do. I do remember the descants on this song were really well done, and the boys looked quite pleased and energetic.

I Saw Three Ships

The boys absolutely blew this song out of the water (pun unintended again!). I saw a majority of them break out into genuine smile during this song, and many were looking around the audience, probably searching for family members. I remember being very surprised because one of the choruses which was quite low in pitch was actually sung by many of the first trebles! The seconds were busy singing the refrain at the time. The miniboys took the instrumental solos during this song as opportunities to look around at fellow singers, the other instrumentalists on stage, to look at the ceiling, the floor. Quite adorable. An energetic fun way to top off the concert.

Overall my impressions are very positive. So many talented soloists, but the choir as whole blends so well and has a vibrant and youthful tone. I enjoyed meeting fellow fans as well.

Thanks for part 2!
A very enjoyable read once more...

gingerthedog1 wrote: ↑<span title="Fri Dec 20, 2019 9:56 pm">5 years ago</span> In Dulci Jubilo finished the setlist, and was quite a nice break for me…. I stopped analyzing the music and tried to just enjoy it!

...and please do so as much as possible at each concert! Yes, you might deprive us of your detailed notes this way, but ultimately, one's own enjoyment is the most important - isn't it?

Thank you so much gingerthedog for your review part 2. You write so well and describe such precise details...I love it! I wish I could have enjoyed all of these nuances with you and the other fans. Never deny us another of your reviews again, please.

For a lack of time, I'm not able to write a full song by song review. However, this stunning concert has been numerously reviewed by others so that not even Surpinto can tell me off, if I content myself with additional remarks.

This time again, I am very grateful to several considerate fellow fans who, when they heard that I love to be surprised, in my presence kept silent about the set list before the concert. I went into the music being totally ignorant of which songs would be performed (apart from the idea I had got via the Japan tour information) and only learnt, due to my own question, that Noël Nouvelet would be sung, so that I had both: as much surprise as possible as well as anticipation to this song I had much wished for.

I let myself fall into Libera's music and enjoyed the first songs, but then was virtually mesmerised by the adorably beautiful sounding choir part of The Angel Gabriel: gentle, streaming, warm, blazing. At the same time, the 4th song of the night already after all, I suddenly got aware that so far my ears had been fully focused on the choir and, in contrast to all my previous Libera concerts, much less on the individual solos. I enjoy the choir's performance in every concert, but never did so as extendedly as this time, their brilliant sound, their main, their supporting and their enfolding role and more. I welcomed today's unintended new "approach" of mine which continued throughout the concert, and so I was not as curious for the solos as I usually am, but above all savoured the choir with all my heart. This time they were in the foreground for me, and it was a very rewarding evening!

Gaudete belonged to my favourite songs of the concert. It was sung with so much enthusiasm, so vivid and cheerful with its catching rhythm - this song is just made for performing it live and the joy of doing so was obvious in the Libera boys! The spark jumped across to me immediately, and I had to resist joining them and dance on the ground with my feet.

Sing Lullaby, together with In the Bleak Midwinter, is one of the two songs I actually feared, despite being highest favourites of mine, because they are sometimes just toooo touching to bear, but it went alright for me. Dominik has made a remarkable step forward since I last heard him in Arundel, audible above all in Sing Lullaby as well as in Angele Dei, where he delivered really convincing performances. His voice sounds much more self-confident and stronger, it did not tremble and, equipped with a good singing technique to impeccably guide his voice along the melody of Sing Lullaby, he presented this bittersweet song so beautifully that he put me completely under his spell.

A particularly intimate song is Poor Little Jesus. The full concentration on vocals has it speak more directly to us than it would be the case with a large instrumental part. This intensity is further increased by the tempo taken ad libitum, and so the song is entirely at the service of the lyrics' message.  

Ding-Dong Merrily on High is probably the song whose live performance everyone is curious about the most. Every time I listen, I associate it with Libera boys going around in a room in no order, just mixed up, while singing their individual voice part. Well ... such thing is less recommendable to do on stage. In fact, the song was not choreographed at all, which is comprehensible in face of the complexity of its arrangement. The boys kept standing in a half circle with the mini-boys strung in front of them and I spent a good time watching them, so new in Libera, but already so seriously part of the whole. Where will they be in their Libera development in one year and later?
We all know that this song is entertainment pure and so was the singing. It certainly demands high concentration from the boys and they presented themselves entirely committed. And here also my funniest moment of the concert happened: Dominik not only sang the last "Ding-dong, ding-dong ...", but literally bit the words with his mouth, full of energy making sure he was spot-on. And next time I must not fail to look out for Robert and his signals to them when to go on after the gloria loop at the end, or do they count inside, or do they just feel it? Anyway, this bit is the crown of the song and every time makes me laugh! 

The back row deserves special mention. There were seven boys I believe and I was particularly happy to see Adam among them. I still remember him being immersed in the music with eyes devotedly directed above, but then he was gone. That's why discovering him here was amazing as well as the others, of course. How wonderful that they are still faithful to Libera! - After the interval they provided calm in the audience before the storm of Carols of the Bells, by singing the "Conditor alde siderum" part of Sempiterna - Robert seems to love the unexpected turns, just like I do. Although I was hoping in vain for the whole song, I love that creativity to grab a part of an existing Libera song and place it into a different context.
It was very moving, also due to the heartfelt instrumental accompaniment. I love the deep voices, I loved that these older boys had the opportunity to shine on their own, and I'd like to encourage Libera to feature the back row more often. They really deserve it, it is always appreciated to see the former members once more and it forms a fine musical contrast to the emphasis on the high register music. Not as a remarkable change, but a little bit more would be so nice.

O Little Town of Bethlehem struck me, as I belong to the disliker fraction of this song. But while I was listening, I suddenly realised: "Oh! I enjoy it!" And very much so. Libera live works wonders - and I enjoyed my own unexpected enjoyment. I have a weakness for Oliver WR's voice and he and the choir complemented each other to harmonious perfection.

Noël Nouvelet is a song I love for its character and its diverse arrangement. I was very glad that my secret wish that it would replace Japan's To the Future, as the latter could not be expected to appear in the UK set list, became true. Too bad that it's a Christmas song! Can we not just pretend that it's not and include it in the spring concert programmes as well? The part I still remember with admiration was when Neo and Oliver WR sang their duet: They had to bridge a far distance between them, because Neo was standing on the right, Oliver on the left side. They managed it absolutely flawlessly, the layering of the two voices was perfect all the time. Excellently done, boys!  

A soloist I'd like to single out was Tadhg. He as well has improved; He is obviously one of those having to get used to the exposure to an audience. The more often, the better he gets. He is also the one who finds the most to laugh on stage, and there I sit and must laugh, too, wondering what has now happened again to start him laugh.

Luca's live performances have CD quality. He was still 9 at that concert, as was said in one of the speeches. He was brilliant, but this was no surprise. Already in Arundel he had set the bar extremely high, yet I never feel scared when he is about to sing his solos! With other boys, I sometimes feel a bit of nervousness for the respective soloist, wishing all will be fine and the difficult parts will go smoothly for the boy to have a good experience on stage. Not with Luca! I'm just so secure about his excellent voice control that I can't imagine anything else than an excellent singing result, and so it was. In my album review, I've already recognised the natural sound of his voice and its homogeneity in all registers, and there's no difference in concerts. Not sure about the correct English word, but for me there is something noble in his voice.

Daniel is a very good soloist as well, however most of my admiration applies to his undisputed talent as a presenter, which he seems to come up with just like that. The stage is his home. Actually, above there he acts as if he was Robert's right hand, he seems very independent and would certainly not be at a loss for handling the situation with aplomb in the unlikely event of getting stuck one day.

For the first time in my 9 times Libera concert life, Stay With Me and Libera were missing. The concert set list contained so many Christmas songs that apparently some standards had to make room. Hopefully, Libera will be included again in the spring concert, because I really missed this one.

As for the venue St. John's Smith Square, I like its construction as a concert room, which you notice a) from the brilliant acoustics there with a marvelously transparent choir sound, which made it possible to distinguish the voices, the voice groups and the sometimes natural, sometimes amplified sound much better than a cathedral could do it, and b) from the way you can seat the audience: not much restricted view and a gallery. The gallery caught my interest - one day I'd love to follow a Libera concert from upstairs; I imagine the choreography to be particularly effective with a view from above. The lighting however did not work very well there: The light seemed to strive upwards, but then got lost in the nothingness, because the room's height provided nothing for the light to "land" and reflect. All in all, it was certainly a great venue, however I still prefer cathedrals for Libera concerts. Real church atmosphere is just the most adequate to reinforce the depth of a Libera concert as a whole and round work of art. It would be fine to have both in a somehow alternating way, because having such clear acoustics is a splendid experience, too.

Funny was the handling of the stage in the first half: More to the back, on both sides of the orchestra, there was a curtain, which was properly closed on the left side and ... hm, not so very properly closed on the right. During the whole time the audience did not only have a view on Robert, Libera and the orchestra, but also on a ladder, a high staple of some undefined stuff, an undefined piece of furniture and so forth. During the interval, I uttered a tiny complaint to andmar, who took action immediately. The second concert half found a well closed curtain on both sides and no ladder was there anymore for my distraction.

So, I leave it at that. The gaps in this review have nothing to do with the great degree of my enjoyment, especially of the fantastic overall sound which made the audience capable of appreciating finest nuances. Thank you, Libera and staff, for your wonderful concert and getting me into Christmas mood!

... while at the time I'm posting this the new year has just begun over here, now let me wish Libera and all Libera loving people here around a peaceful, happy year 2020!

filiarheni wrote: ↑<span title="Tue Dec 31, 2019 11:39 pm">5 years ago</span> For a lack of time, I'm not able to write a full song by song review. However, this stunning concert has been numerously reviewed by others so that not even Surpinto can tell me off, if I content myself with additional remarks.

Calling me out are you?! Despite the unforgivably lateness of this review, I am forced to compliment its quality . I am really happy to hear that you managed to enjoy the concert as much as you did; despite that horrible ladder and other impediments which did nothing to elevate (pun intended) the music.

I agree very much with you about the back row because those lower parts really help to hold up and compliment the higher notes and higher voices.

In any case, from every review I have read here, this particular concert was not only good but an extraordinary success; and, as usual, it makes me so glad to share in this experience through reading reviews!

Surpinto wrote: ↑<span title="Wed Jan 01, 2020 8:44 pm">4 years ago</span> I am really happy to hear that you managed to enjoy the concert as much as you did; despite that horrible ladder and other impediments which did nothing to elevate (pun intended) the music.

Who knows if they planned to have someone sing big vocalises and for the lack of a pulpit to at least elevate the soloist, they provided a ladder ...

filiarheni wrote: ↑<span title="Tue Dec 31, 2019 11:39 pm">5 years ago</span>[...]it is always appreciated to see the former members once more and it forms a fine musical contrast to the emphasis on the high register music.

Surpinto wrote: ↑<span title="Wed Jan 01, 2020 8:44 pm">4 years ago</span> I agree very much with you about the back row because those lower parts really help to hold up and compliment the higher notes and higher voices.

You are of course right about the basis they form, as this grounds the music and the songs would not be complete without that, but with "contrast" I actually meant the deep voices singing all alone, beyond the songs that Libera as a whole sings and where the higher voices are naturally featured.

It's been over a month since the wonderful Christmas concert in London. I'm slowly catching up with reading the reviews and each time I do so, wonderful memories come back to my mind.

Thank you so much Yorkie, maartendas, TullyBascombe, Padmachou, gingerthedog1 and filiarheni for your wonderful reviews. It's really impossible to keep in mind all the details which happen during a concert but thank to your reviews we can re-experience somehow that night.

I'm sorry for not providing my own review this time but I wouldn't be able to add anything to the existing reviews, not to mention putting in words my thoughts in such a brilliant way you did.

filiarheni wrote: ↑<span title="Tue Dec 31, 2019 11:39 pm">5 years ago</span> Funny was the handling of the stage in the first half: More to the back, on both sides of the orchestra, there was a curtain, which was properly closed on the left side and ... hm, not so very properly closed on the right. During the whole time the audience did not only have a view on Robert, Libera and the orchestra, but also on a ladder, a high staple of some undefined stuff, an undefined piece of furniture and so forth. During the interval, I uttered a tiny complaint to andmar, who took action immediately. The second concert half found a well closed curtain on both sides and no ladder was there anymore for my distraction.

I really couldn't stand seeing you suffering from that disturbing view (even though I didn't really pay much attention to it myself, as there were other much better things to look at), so what else could I do.