REVIEW: St. Thomas’s Haunting Ceremony of Carols
Above: Photo by Ira Lippke.
December 20, 2019
By Brian Taylor
The Reverend Canon Turner introduced The Boys of St. Thomas Choir’s annual performance of Benjamin Britten’s A Ceremony of Carols as one of New York City’s great Christmas traditions, comparing it to the Rockettes. Fitting then, that I had plans to attend both on the same crisp December evening. It was a study in contrasts, and a perfect sampling of the unique variety NYC offers this time of year.
Composed in 1942 to text from The English Galaxy of Shorter Poems — while sailing from New York to England during World War II — Britten’s A Ceremony of Carols, a novel concoction for three-part boys’ chorus and harp accompaniment, is a contemplative, mystical take on Christmas music. The Boys of St. Thomas animated the work under the leadership of Jeremy Filsell, exhibiting skills beyond their years: rhythmic accuracy, and pure, honed intonation.
The boys, carrying burning candles as they emerge in procession, sing a peaceful, yet mysterious, “Alleluia.” There’s almost an air of Gregorian Chant. The cold church’s Gothic archways were gradually warmed by candle flame and cardinal red vestments.
Through the Ceremony of Carols, in a series of Old English texts and antique-sounding melodies, Britten weaves a hypnotic, meditative spell, shrewdly employing the boy sopranos and altos and harp in the just the right measurements. Sara Cutler, one of NYC’s finest harpists, provided expressive and coloristic support. From the bright “Wolcum Yole!,” to the haunting “In Freezing Winter Night,” the Boys of St. Thomas sing with pinpoint intonation — pure, piercing unisons and round, vibrating chords. The “Spring Carol” features two soloists, in a swirling duet over a ravishing harp accompaniment.
Rarely, in Britten’s knottier harmony, their intonation might strain. Yet the attempt, or intent, is evident, conveying meaning and craft. Filsell provides secure, economical leadership, simultaneously focusing on musical details and dramatic flow.
Photo by Ira Lippke
Benjamin Sheen, in one of his final appearances as Associate Organist at St. Thomas, joined Cutler in a duo for harp and organ, Aria in Classic Style by Marcel Grandjany. The combination of angelic harp and the “King of Instruments” is a heavenly one, and this plush, romantic diversion was undoubtedly salve to the ears of many in the pews.
Filsell and the choir continued with a set of carol settings, first French organist Gaston Litaize’s lively “C’est la Nöel,” then Mary E. Caldwell’s refreshing arrangement of “In the Bleak Midwinter.” The concert reached its emotional zenith in the serious, declamatory “I Am Wisdom,” a layered anthem for chorus, harp, and organ by Peter Hallock.
Soon enough, Sheen leavened the proceedings with Thomas Trotter’s witty arrangement of Leroy Anderson’s perennial winter hit “Sleigh Ride,” segueing directly into a rousing rendition of “We Wish You a Merry Christmas.”
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It says a lot about the city that just a few blocks away, you can experience a holiday tradition that’s more garish, but no less reverent or celebratory. In the shadow of Rockefeller’s iconic tree, Radio City’s Christmas Spectacular fills the 5,960-capacity Music Hall. The classic show, a tribute to holiday cheer, has maintained a winning balance between the old (the indefatigable “Toy Soldier” routine, the classic Nativity scene with live sheep and camels) and the new (projections now envelope the entire hall like magic).
Those Rockettes dance with the precision of a North Korean militia. And the orchestra (comprised of faces you’ll see on NYC’s most distinguished concert stages and Broadway pits), expertly conducted by Kevin Stites, receives several moments in the spotlight. They sound terrific while riding their own elevator car around the massive stage. The arrangements are dazzling and fun.
The ‘woke’ among us might quibble with a choir limited to boys, or a stageful of leggy women of specific proportions. Traditions will evolve. But for sheer quality of execution, for evidence of why traditions must endure — whether it’s St. Thomas’s Boys Choir, the Radio City Rockettes, one of the city’s sundry “Messiah’s,” or something else — New York at Christmas is a time to connect.
Happy Holidays!
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