Critical Reviews

Durham Herald-Sun
December 26, 2004
by Carl J. Halperin

As 2004 winds down with an unexpected musical bang, some thoughts on the business of live music and those who perform it follow.
As a serious music-lover, I attend a great many performances in many different locales over a year’s time, and many for simple pleasure. Once I don my local business— i.e., “critical”— hat, however, my senses are always more acutely sharpened, as I know I am in fact listening on behalf of countless others unable to be present. Sometimes the process proves a daunting responsibility. But, there are those other nights— December 17 in UNC’s Hill Hall, for example— when I think I must have the best job (possibly barring parenthood) in the whole world.

On this Friday night-- a most fitting finale to my Christmas concert-going this year-- word had obviously spread quickly that this evening of excerpts from Parts I and II of J.S. Bach’s “Christmas Oratorio” was to be an “event.” With Sue Klausmeyer leading the Chapel Hill Community Chorus and orchestra, it most certainly was that, practically a Standing-Room-Only ticket.

Truly, nothing says the holidays quite like the music of Bach, and this particular work was chosen for obvious reasons. At the center of it all, tucked in front of Hill’s small stage, Klausmeyer— with her instinctive affinity for Bach’s spiritually-enhancing genius with text and word painting— presided with a confidence that was obvious from the start. With perpetually pulsing attacks that danced and throbbed, brilliantly shining throughout the hall, conductor and chorus (along with an exquisitely authentic-sounding instrumental ensemble) exceeded all expectations, performing with a sincerity that was touchingly human rather than over-practiced to the point of perfection. It was, in a word, genuine.

As if this weren’t enough, Klausmeyer had the good sense to enlist three soloists of outstanding quality. Countertenor Brad Fugate— blessed with two of this work’s most singularly expressive solos— rose to the occasion with a fleet voice of liquid gold and the musicianship to match. In the all-important role of the Narrator, tenor Timothy Sparks used his equally handsome voice to sharply define the familiar story of the Nativity. Baritone Henry S. Gibbons’ lyrical delivery was also perfectly in synch with Klausmeyer’s vision of Bach’s Baroque spin on the birth of Jesus, another simply ideal piece of vocal casting.
Following this revelatory performance (why didn’t Klausmeyer program the full work?), the chorus followed with traditional holiday fare, carols and the like. At this point I opted to depart, knowing that what would follow could only be anti-climactic.

Now, before you say “Bah, humbug!” and think me in need of a late-night visit from the ghost of Jacob Marley, consider the facts. Any chorus can— and, over the course of the last few weeks, has— gotten up to sing through “Joy to the World” or “Away in a Manger” on a holiday program, but where else has an ensemble recently put itself on the line in such a way— and so successfully-- with the music of Bach?
Departing Hill Hall, I was somewhat surprised to find the outside world on the campus as it always is. I had been, I realized, fully transported into a different place for the preceding hour or more.

At this point— thanks to Klausmeyer, Bach, and friends-- I decided it may just be a good New Year, after all.