The Ottawa Bach Choir’s (OBC) concert on Dec. 2 offered a majestic interpretation of several Magnificat compositions, but the venue’s acoustics held them back from their full potential.
The Magnificat is named after the canticle Virgin Mary spoke during her visitation to Eliazbeth, mother of John the Baptist. The choir opted for several lesser known settings of the Magnificat, including those of Isabella Leonarda, Heinrich Biber, and Jan Dismas Zelenka.
Soprano Myriam Leblanc easily stole the show in these early sections. Although her voice was restrained, in keeping with the baroque style, she injected a lot of power into the middle of her vocal range. She displayed boundless energy through resonant high notes and affected body language, often clutching the side of her music stand as if letting go would cause her to float away, and smiling wide at the end of each of her performances. The music clearly struck a chord with her.
Soprano Myriam Leblanc (Photo by Peter Polgar)
The choir, meanwhile, demonstrated their mastery of choral blend before the intermission. Their 19 voices were often indistinguishable from one another, producing moments of harmony during Leonarda’s Magnificat that could only be described as angelic. Their voices were only distinguishable when the vocal lines were singing different text. During these segments, the basses were joined on their part by the cello and double bass, resulting in a deep and satisfying ambient sound. The tenors and sopranos expertly intertwined their lines in complex, reverberating polyphony.
The main event was Bach’s Magnificat, which, according to the programme, was composed to launch holiday festivities in 1723 during Bach’s first Christmas in Leipzig. The work spans 12 movements each set to a separate verse from the Gospel of Luke. The choir performed the original Eb major version instead of the D major transposition Bach wrote 10 years later. This meant the transverse flutes were replaced with recorders, making the work sound less sophisticated, but much more joyous and festive.
Baritone Alexander Dobson didn’t have many moments as a soloist, but he commanded attention when he did. His voice was always clearly audible above the instruments, and his higher register was impressive. Such was also the case for tenor Owen McCausland. Countertenor Daniel Taylor performed intermittently, but he showed a great ability to slowly mount tension during dramatic moments.
Baritone Alexander Dobson (Photo by Peter Polgar)
The trumpets made a lasting impression with their incredible flexibility, from their fast repeated notes in Bach’s Jauchzett Gott in allen Landen to their roaring fanfare at the start of his Magnificat. The violinists practically jumped out of their seats while emphasizing notes, bringing the same kind of energy to Theatre of Early Music’s baroque orchestra as Leblanc brought to her vocal line.
The biggest issue with the concert was the venue, St. Matthew’s Church. Its long and narrow hall with stone walls and a high ceiling featured little reverberation, and while the sound carried to the back, the acoustics were detrimental to the night’s singers. The choristers standing behind the orchestra often had to compete with the trumpets and string instruments to be heard. Dobson lacked the slight edge that could have carried his vocal performance from attention-grabbing to booming. Even Leblanc struggled against the violins while in the lower parts of her register. Not once did the music seem to completely fill the room.
Ottawa Bach Choir and Theatre of Early Music baroque orchestra (Photo by Peter Polgar)
The OBC’s various renditions of Magnificat were enchanting for sure, but a venue with more generous acoustics would have suited them better.
Ottawa Bach Choir
ottawabachchoir.ca/en/home/Upcoming concerts
The Maestro of San Marco on Saturday, March 2, 2024 at Knox Presbyterian Church
Leipzig 1723 on Saturday, May 4, 2024 at St. Andrew’s Church
