Andrew Nethsingha Archives - TheaterScene.net

Andrew Nethsingha

The Saint Thomas Choir of Men and Boys with Concert Royal: Music of Bach and Handel

May 31, 2016

Such feast days deserve magnificent music; Bach and Handel created it. And the Saint Thomas Choir of Men and Boys, the first rate period-instruments Concert Royal, and five marvelous soloists gave splendid performances of two Bach cantatas and a Handel psalm-setting that did both the feast days and the music proud. The first-rate concert was a particularly fine accomplishment for St. Thomas Church: rocked by the sudden death last summer of John Scott, choral director and organist, the school and the church had to both manage a top-knotch concert season without their director and perform the “director-less” concerts as suitable memorials to Scott. [more]

The Choir of St. John’s College, Cambridge

April 20, 2016

Since the 1670’s, the Choir has consisted of voices ranging from bass to treble, all students at St. John's College or the College School. There are currently six basses, five tenors, four counter-tenors and seventeen trebles; of the trebles – two or three of whom are no bigger than buttons – there currently appear to be thirteen families represented. In some senses, the trebles are the stars of the show: that such young boys should demonstrate such consistently high levels of both innate musicianship and disciplined formal training is remarkable. The sweetness of tone inherent to boys' soprano voices is not like anything else: its combined ethereality of the moment and promise of future sturdiness make it a perfect instrument for the invocation of angels, heavenly beauty and divine wisdom. [more]

The Saint Thomas Choir of Men and Boys with Orchestra of St. Luke’s: Mozart’s Requiem & Haydn’s Missa in Angustiis

November 18, 2015

Nethsingha's reading of Mozart's Requiem was richly nuanced and widely expressive, and the success of his reading was established within the first three movements. The opening Requiem was graceful, nearly pensive: the treble voices were sweet and pure, and soprano Katharine Dain's brief opening solo was at once eloquent and ethereal. The swift Kyrie, with its tight runs, quarter and sixteenth notes, was a completely clear, crisp introit, an urgent summons of the clergy to their sacraments. The ensuing Dies Irae – one particularly pure exemplar of Mozart's genius – made beauty and terror inseparable. [more]