Well, it sure sounds a lot like Christmas

It may not be beginning to look a lot like Christmas, but choral ensemble Canzona decided to get the snowball rolling.

Their performance with the University of Manitoba Singers and MusikBarock Ensemble Sunday night of J.S. Bach's glorious Christmas Oratorio was a sure-fire way to usher in the holiday season.

Composed in 1734 to be performed in church over the Christmas period, it tells the story of the Nativity and subsequent events in six cantatas. Artistic Director Henry Engbrecht wisely limited this performance to Parts 1-3 and highlights from Parts 4-6.

Soloists were soprano Charlene Pauls, alto Kirsten Schellenberg, tenor David Menzies and bass Jason Nedecky.

Opening with a briskly paced Jauchzet, frohlocket, the choir exuded joy and energy, enunciating every word with care. Trumpets soared and we held on for the ride.

Menzies, in the demanding role of Evangelist, showed stamina and control without strain as he reached the upper register repeatedly. Yet, in the tenor aria Frohe Hirten, eilt, ach eilet, which he handled cleanly and with ease, he resorted to a head voice, not nearly as effective had he sung out more, as he did as Evangelist.

The flute accompaniment for this aria was lovely, but its tone was slickly modern, not the plainer, woodier sound of the period.

Schellenberg is a gifted interpreter of Bach, with a voice rich as heavy cream. In Bereite dich, Zion, her long flowing phrases blended into one another. There was lovely oboe work from Caitlin Broms-Jacobs, and Eric Lussier, harpsichordist, who kept things moving along nicely.

But it wasn't all easy sledding. In Schlafe, mein Liebster, the orchestra tended to compete with Schellenberg's singing, not adjusting from feature instrumental playing to accompanying. Her entry was so delicately subtle, you hardly knew she was there, but soon her singing blossomed into full voice -- utterly sublime.

Nedecky has a pleasing lilt to his voice, which is lithe and resonant without heaviness. Standing in front of the continuo instruments, however, his singing was often obscured. Sound checks might have picked up on this, as it remained a problem throughout the performance.

We waited a long time to hear Pauls, who sat patiently until Part 3 before singing a duet with Nedecky. Well balanced, their voices meshed well and their pleasant facial expressions were a bonus.

Pauls has a presence that commands your attention and the voice to keep it. She brings lightness and joy to her singing, and is expressive and dramatic when required.

Chorus work was excellent, with great attention to dynamics and attack thanks to the choir's alertness to Engbrecht's precise direction.

Special mention must go to Brian Sykora, for spine-tingling trumpet work and to Lussier for the sheer endurance to play non-stop for 21/2 hours.

gwenda.nemerofsky@shaw.ca

Republished from the Winnipeg Free Press print edition November 24, 2009 D4