Accessible and highly enjoyable performance of Christmas Oratorio

Benson Choral Society — Christmas Oratorio by J S Bach
Dorchester Abbey
Saturday, December 6

“Come now with gladness” was the opening chorus line from the Benson Choral Society’s performance of J S Bach’s Christmas Oratorio, written for the Christmas feast days of 1734. There was definite gladness in Dorchester Abbey for the society’s massed ranks and the full audience joined to celebrate the start of Christmas with this wonderful work.

Conducted by Thomas Neal, the oratorio featured soprano Cecilia Osmond (stepping in at the last moment), countertenor Jacob Werrin, tenor Toby Ward and bass Daniel Tate.

Each of these soloists gave a fine, textured performance, taking different roles, such as the Evangelist, Angel and Herod as the Christmas story unfolded. The choir, whose ranks were swelled by members of Wallingford School, was accompanied by Instruments of Time and Truth. This is an Oxford group of instrumentalists dedicated to bringing baroque and early classical repertoire to a wider audience, using baroque-style instruments.

For example, the oboist explained to me that she was playing two different instruments, tuned to A and C and made of box wood; the violins have differently shaped bows to the modern ones and use gut strings. The long, thin baroque-style trumpet has a gentler tone but still commands attention. These evocative instruments allow the audience to experience a sound similar to that intended by Bach when writing the oratorio.

There were some particularly fine moments in the performance, such as the beautiful sinfonia (depicting the shepherds in the field) which starts the second part of the work, and was a sheer delight. The choir then came in with zeal for the chorale (no. 12 — “Break forth, o glorious morning-light”). The duet between soprano and bass (no. 29 — “Lord, thy mercy, thy compassion”) allowed the richness of these contrasting voices to shine against a delicate accompaniment.

After the third part and an interval of wine and admiration of the magnificent abbey, the sixth part completed the evening (which would have lasted too long with the fourth and fifth parts). The chorale, “Beside thy cradle here I stand”, was intensely moving, sung from memory by the choir.

This was an accessible and highly enjoyable performance, sung in English and with tangible enthusiasm by Benson Choral Society.

Jane Redley