On January 5th, a tweet from Libera:
On January 6th, fan Glenn Jalmas posted an unusual video glimpse of Robert Prizeman working with a group of singers in the Cathedral Basilica of St. Louis, Missouri, during the group's 2019 US tour. As the piece they're rehearsing was not part of the performance repertoire, it was probably for a worship service.
Singers are, from left: Mathias Montoro, Oliver Mycka, Oliver Watt-Rodriguez, Tadgh Fitzgerald, Dominik Clarke, Daniel White, Samuel-Francis Collins, Neo Parson, and Victor Wiggin.
https://www.youtube.com/watch?v=wKt2CSkKWik (Robert Prizeman rehearsing Libera members in St. Louis/July 29th2019/1:33)
Review of December 6th St. John's Smith Square Concert by eagorbea (More photos to come; thanks to the Libera Passion site.)
I want to thank the staff and parents of Libera and St John's Smith Square for giving us a fantastic concert via streaming. Steven Geraghty was an awesome director. And thank you Sam Coates, the official musical director, for keeping Libera going.
Sam Coates
I want to especially congratulate all the charming, witty, funny, and very articulate boys who gave speeches. I am doing my review of the songs, but I am also including all the speeches word for word for your enjoyment. Daniel White was very funny and cheeky, rousing the crowd to laughter. Koji Shinokubo was very formal and proper, delivering his speeches like a professional. Frederick Mushrafi had perfect diction, and has a bouncy, charming delivery. We got two new speakers: Laurence Davey and Joseph Hill. Laurence Davey was formal and confident but also witty. Joseph Hill is so sweet and confident for one so young. |
Vespera
Luca Brugnoli does the solo and Daniel Catalogna does the high descant standing at the back right by himself. Luca was sensational in his very demanding solo. His voice has matured nicely and he is much more confident in his singing. His voice soars. Daniel Catalogna was wonderful in his high descant. This is his first major solo in a concert. This is a sublime arrangement and it is so atmospheric with the gorgeous lower voices (Laurence Taylor, Oliver Watt-Rodriguez, Neo Parson, Joseph Cranitch, Tadgh Fitzgerald, Johnny Gardner, Nathaniel Bates-Fisher, and Alexandre Menuet). It is a very solemn start for a Christmas concert. I am so glad to see the Libera formations again!
Robert Prizeman takes a bow in 2020 .
 | | Laurence Davey |
Laurence: Hello, I am Laurence.
|
Earlier, on January 2nd, a number of Libera members had participated in a concert by the Cardinal Vaughn Schola Cantorum.
Freddie Mushrafi and Daniel White. Victor Wiggin
CONCERT REVIEW 2: Fan filiarheni also posted (on the Libera Dreams Forum) a remarkable and detailed review of the December 5th concert, covering, in addition to the concert material, those songs performed that evening that also appeared on the recently released Libera CD IF.
This review is an experiment, as due to not yet having written an IF album review, I'll combine them regarding the songs that appeared both on the album and in concert, as this way it's easier to include some general remarks on the songs themselves. Let's see if it works.
I will keep the order of the concert.
Vespera
Music: Robert Prizeman
Words: Trad. & Robert Prizeman
Album
Vespera + I = friends forever! I had been anxious before. The 2001 version radiates 100 % positive energy; would the new one change that? To my joy and relief, my worries were unfounded. I fully affirm this version, it doesn't take anything off my previous feelings.  Its arrangement is still marvelous and so very beautiful, deeper, wider, more expanded and still it's the old, uniquely atmospheric Vespera!
The keyboard's sound which for me essentially contribute to this mood was not touched, so glad. I couldn't help smiling due to the pleasing listen and a feeling of complete comfort spread out in me.
One melodic element was modified, seemingly a bagatelle, but it does affect the mood there: It's the change in the Gregorian chant intro from originally being a whole step to a semitone now, which causes a moment of woe. It sits on the word "clementia", which has me wonder if this was a very subtle sign from Robert [Prizeman], a mix of hope and resignation in the face of his illness. It is my very own speculation, but as artists do express themselves in their art, who knows and there must have been a reason for this strange change.
Luca Brugnoli and Daniel Catalogna are the ideal team for this song. Luca with his natural singing skill and his crystal clear voice does the song justice, and Daniel C. is simply terrific on the vocalises! The production of Vespera is brilliant as well, such as the transition to the first refrain which feels like a smooth landing, oh wow, and wonderful, how Daniel takes the note over from Luca for his final vocalise.
All in all, the 2001 version is more ethereal and lighter, remote, while today's version is more grounded, more real, closer. So yes, they are different, but the specific atmosphere, that's what I've learnt now, can't be taken away from this song, because it is inherent to the composition.
Concert
Finally! Vespera in concert! And how marvelous it was! The tenderness of the music, the streaming, thoughtfully executed choir part, the gentle fills by the instruments. A flawless solo by Luca, whose voice perfectly matches the delicate keyboard dabbing/spots (?) and the fabulous, brightly shining vocalises by Daniel C., who sang securely in pitch. I'm enthusiastic about him!
The live version differed from the album by connecting the verse and refrain in a more emphasised way, by a delightful wave of the orchestra which let the rhythmic, somewhat springy verse flow into the very legato refrain, like a river opens out into the free ocean.
Vespera hasn't lost one bit of its fascinating translucency.
I like to fantasise that Vespera was Robert's final gift to the audience with which he fulfilled the long expressed wish of what I felt to be a majority of us. And what an emotional moment it must have been for its first soloist Steven Geraghty to realise that very first time as its conductor now, him, who has enchanted us with his solo up to today!
I beg for the song to remain in the concert set list for a very long time. Apart from not yet having experienced it live, I will definitely want to hear it again and again ... and again.
And now that Vespera has vanished from our crying list, the song which will fill the resulting gap for me is Benedictus Deus.
Daniel W. and Koji gave a spirited welcome to the audience, being very glad to be "much truer to our name" this year because they could move on stage and deliver "a proper Libera concert". Yeah, Libera, that it is! Then there followed a tribute speech for Robert that moved me to tears. Although this concert proved that Libera is in the best hands, for me he will continue to be present in each future concert, album and all else that is related to Libera.
I felt shattered to hear that Robert wrote Once an Angel already in April 2020. So long ago! I'm still convinced of what I wrote here. But it means that he was aware so early. This is heartbreaking all the more.
Once an Angel
Music & words: Robert Prizeman
Arr.: Sam Coates
Album
It's the album's starting song and I like this choice. It's like a preface Robert took to lay down his sorrow and his wishes for Libera to persist also after him and then, with the following Let Me Make Songs for the People say: "And now let us dive deeply into the music and enjoy!" The song is wistful, but I do find comfort, I have to say, in seeing it in the analytical way of directly relating it to Robert's situation. I also think that Robert couldn't have expressed his true love for Libera better than through this song.
Once an Angel is much more beautiful and less sad than I had expected and Sam did a wonderful arranging job. He uses those liberaesque features such as mystic sounds, the way how the voices are led, and the flourishing harmonies, especially later in the song - but all of this in a more restrained way. Very adequately done and certainly a good sign for the future. Thank you, Sam!
I especially love those percussive notes, which bring tiny balls before my inner eye, glowing like stars and floating through the air. It is a contemplative song that provides a haunting duet by Victor and Daniel White (I presume that's Daniel on the album as well - I have to complain once more that the second voice soloist remains uncredited in the booklet. It was absolutely appropriate to give the solos of this important song to two long-lasting, firm pillars of Libera.
Plausibly, it's a minor key piece, but at the "long ago" bit yet another shadowing happens by the change to a semitone, which once more adds to the resigned mood. And still the song as a whole sparkles and certainly conveys hope and brightness aside from the sad cause for its existence. It is a goosebumps song. Victor Wiggin has definitely improved his technique. I prefer the clear to the breathy voices and I like it that his voice is more direct now. It sounds beautiful.
Concert
I think that this song's live performance was touching in a particular way for those on stage and in the audience, because we will probably all have sunk into memories of Robert. I can't imagine that it was easy to sing such a meaningful solo live and admire Victor for having mastered it so well. His voice is in the stage of changing and his low register is strong and firm, while the height still shines. We know Victor as the embodiment of the word smile, but here he was serious in a very special way and Daniel looked sad. Very moving. Great performance, beautifully harmonised by the choir and very sensitively accompanied by the orchestra.
Will we hear Once an Angel in concert again?
Gaudete
Music & words: Trad.
Arr.: Robert Prizeman
That's an ever-uplifting song, frequenting a concert set list once more. As I see it, Gaudete is another one of the springboard songs for new soloists. Luke BD sang the solo. He has a very nice voice and flawlessly kept the pitch. I noticed some technical breathing issues, which I ascribe to nerves, but he did manage to hold the long notes until their end without losing them - I marvel at such capability! So after this fine debut should have gained him the justified confidence, I am looking forward to his further solos. The choir delivered the song with routine.
Ding Dong Merrily on High
Music: Trad.
Arr.: Sam Coates
Words: George Woodward
And this is an ever-fun song with the lovely, playful recorders (recalling Praetorius's Terpsichore in me), and it just rolls! Of course every live time I must, in a silly way, be very, very scared that they fail to miss the jump off the Gloria whirlpool towards the end and spend the rest of their life therein, but why not have a funny challenge for the conductor to prove to count correctly?!
In the concert stream, the Ding-Dongs came out in a much accentuated way that fits the arrangement well, and I felt reminded of Dominik literally "biting" the notes in former concerts.
Today he was calmer, he's grown older, the following song was drawing near ... and it would be Dominik's high-skill awe masterpiece!
Cum Dederit
Music: Antonio Vivaldi
Arr.: Sam Coates
Words: Trad.
Album
The story of the ballad which was no ballad. This song purely musically reminds me of Three Ravens, due to the somehow eerie mood, the same dotted strings rhythm which pushes the song ahead, the building drama by the rising and falling of the choir part, a certain underlying threatening atmosphere, the treatment of lead and choral parts. There is a certain gloominess already in Vivaldi's composition, which is reinforced here, while I'm not sure if the words actually provide that mood.
Anyway, this Libera rendition is simply electrifying in each regard. There's Sam's breathtaking arrangement! I can only repeat myself: How lucky we all are to have him! An enigmatic component in Dominik's voice fits the music in an outstanding way. Actually, in the direct comparison I prefer the live version. DominikClarke''s voice has a darker timbre now, which is good for the song. Also, the recorded version sounds more restrained.
Concert
While I have no idea when the song was recorded, Dominik with his passion for singing actively developed his skills since then, and as he seemed focused and free of stage fright, the result couldn't be other than magnificent.
The entire Libera bunch was awesome as well! The tension of the song is so infectious when singing it, you just have to go with it. The choir part is equally important for the song's dramatic effect as the solo. You're aware of the choir's presence all the time and it's a perfect example of how choir and soloist complement each other to the best effect.
This was the most suitable song for Dominik to show off all his talent: his stunning legato, the superb treatment of the back and forth of the dynamics as he guides his voice along the song, and oh dear, oh dear, oh deeeear - how in the world, Dominik, were you able to hold those notes so long?!!
And he didn't only master their length. A long note must be shaped in a way, it must be filled with life, and Dominik formed excellent crescendi which did exactly that in an extraordinary way! The landing at the end got a tiny bit rough, naturally it was time for some breathing, yet that had been definitely high art of singing and I was fully luxuriating in those fantastic notes! Well, as beautiful as his voice sounds and as far as his technical skills are, my admiration first and foremost goes to his musical understanding and his ability to transfer it via his voice.
I am very glad that Dominik was able to bring his love for arias on a Libera album and even more that he got to sing it live. I'm sure he will go on with singing and get very far; he is equipped with the talent and the will. Good luck for that, Dominik, see you in opera one day?
I never seriously doubted it, but this song in my opinion brings evidence that Libera is capable of singing everything live on stage, namely the afore-mentioned Benedictus Deus and Three Ravens, which I consider as two of their top challenging songs. They possess the vocal material and the leadership to manage that. (Of course, a horrible ballad as is Three Ravens won't appear in a church concert.)
If
Music: Michael Nyman
Words: Roger Pulvers
Album
If - I already wrote earlier about how poignant this song is and how intensely it moves me.
There's one association I get. That distinctly palpable ongoing regular beat by the orchestra and the way it is set already in the original composition by Michael Nyman had me think of the human pulse. Just for curiosity, I measured the bpm which is ca. 70. As far as I know, this is more or less the average of what is considered the norm range for an adult. I cannot be sure, how could I? But here we do have a song of philanthropy, and I find this closeness to a heartbeat interesting. It also has something of "go on, don't give up your hopes".
Daniel sings If by worlds better than in the concert last year, and it makes me so happy! His voice is very soft and reminds me of cotton flocks. It has a stable and straight core, enfolded in that cotton gentleness. I also like the way he sings it: unexcited and simple. Total enjoyment. I don't remember to have heard Daniel any better anywhere. He was good, but not in the same way as here. Of course he is older now. My impression is that he treats this song with a particular care. As if he felt responsible to do its deep meaning justice. With this album, If is perfect for me.
Concert
I liked the song much better than last year, because Daniel sang with more aplomb and controlled his voice better, so while I got a bit distracted last year, it was now balanced, and I could fully dream along. There was visible dedication in his whole posture, so moving. Watching him on this piece ties me to the screen. The choir joins the final "if my wishes come true", which increases the song's intensity, and it moved me to tears.
Hopefully If will be kept in the set list for a longer time. I want to hear it live.
Regarding solo performances, Cum Dederit and If were the outstanding songs of the concert. We all praise Dominik for his unbelievable interpretation of Cum Dederit. And this is justified. But Daniel is exceptional on the introvert If as well. The soloist carries all responsibility, above those gently flowing choir harmonies, which provide the sound carpet, but don't play an active interpreting role like in Cum Dederit, and the orchestra's thoughtful support. Being that exposed, imagine the long notes in such a slow song! Plus the meaningful mood whose interpretation I do buy from Daniel. The song came fully from his heart, by which he sang it into mine.
Sing Lullaby
Music: Trad.
Arr.: Sam Coates
Words: Sabine Baring-Gould
And here we go again, Dominik Clarke, with a main solo once more, even though shorter? If someone can tell me where this energy comes from? To sing such a challenge like Cum Dederit and with not much of a break appear again with Sing Lullaby, which as a slow song is demanding in a different way, s. above. And to think that there were two concerts in a short row! He is a perpetuum mobile.
This is a song whose sweetness, so gently conveyed by choir and soloist, disguises the pain of the words, a very nice song, but not easy to take.
Ave Maria
Music: Robert Prizeman
Words: Trad.
One of my Robert Prizeman favourites. It was a sung tribute to Robert and I hope, believe, assume there will never be a Libera concert without compositions of his. The soloist was Lewis Quinn, supported by Daniel White. and Luca Brugnoli. Singing in unison is very risky, and they sang it flawlessly, well done!
After several years of shameful ignorance, the next speech taught me the correct pronunciation of Eimear. I had lived my life in the false belief that "Ei" is spoken like "i" in "fine", but no: It's like "ee" in "deer". Thanks for the lesson, Koji! I promise to improve.
Carol of the Bells
Music: Mykola Leontovych
Arr.: Robert Prizeman
Words: Peter Wilhousky
That's always a favourite and, Libera, not to upset you, but of the 14.790.416 million clicks on YouTube plus 1.819.025 for Armagh a large part is likely to come from me ...  Anyway: Even if there were the same dizzy millions of renditions by other choirs, Libera's is and remains the best!
It's the usual song for a brand-new younger soloist, and today it was Joseph Hill. It is short, but requires courage nonetheless as you stand there all alone. He sang it really fine and after successfully finishing it, a broad smile spread over his face.
Wexford Carol
Music & words: Trad.
Arr.: Robert Prizeman
There is no Christmas carol I love more than Wexford Carol in the Libera version, which featured Eimear with her as usual particularly beautiful flute solos, a real dream!
As for the vocal solo, I was amazed that Morgan Wiltshire sang it. I will never forget his first concert as a mini-boy in Arundel back in 2019, not yet knowing his name at that time! He didn't agree to pause singing at all (s. spoiler with the according review extract from back then) ...► SHOW SPOILER ... and it was totally lovely to watch such love for singing in Libera. And now I feel so joyful that he was given a solo so early. His voice has a bit of a childish touch, but not as much to disturb me and I think he will lose that soon.Actually, he entirely charmed me with the feathery sound of his voice that matches so well the song's meditative character, and he did impress me with his flawless intonation! He also looked quite self-assured, so this was a professional performance. The two Daniels joined him and another excellent unison part happened.
Wexford Carol was the most relaxing song of the evening. It's an easy thing for this piece to please me, as it's just a divine song arrangement.
Poor Little Jesus
Music & words: Trad.
Arr.: Sam Coates
With full focus on the voices and only very restrained instrumental support, this isn't an easy song either and it's magic how they sing it fabulously each time. The choir sound was wonderfully rich and Sam had them sing it with sensitive calm. Luca Brugnoli delivered an amazing solo. His voice has matured. It had that bright, silvery sound since his beginnings in Libera, but now it has started to take on character, it slowly gets more profile, is warmer, and more feeling than before comes across.
Sacris Solemnis
Music: Ludwig van Beethoven
Arr.: Robert Prizeman
Words: St. Thomas Aquinas
Album
A solemn arrangement, just according to its title, while I never warmed to it. I do enjoy the later part though, particularly towards the end when it becomes louder, the singing more committed and more dramatic; there the song can capture me. Freddie Mushrafi delivers fine solos at the beginning and the end, he sings them with diligence and his voice is strong.
Concert
The solo was longer than on the album, good decision! Apart from that, I prefer it to the album version, because Freddie sounded more secure and natural, really lovely. He convinced me more than the choral part in this song. I really enjoy Freddie's voice and more and longer solos are hopefully in the pipeline!
In this song I discovered a little angel, who was flapping his wings. [Probably a reference to a restless little miniboy and his sleeves—Ed.]
Nearer My God
Music: Lowell Mason
Arr.: Robert Prizeman
Words: Sarah Flower Adams
Album
Probably no song has me as ambiguous as this one. Generally spoken, the tune doesn't appeal to me. Oddly enough though, I can relate to the comfort that it may bring in harder times. But who would wonder: What no other version has managed, has successfully been achieved by Libera! It won't become a favourite of mine, however their rendition is the only one which I enjoy and which makes me listen from the beginning to the end. With a very restrained instrumental accompaniment, it features an amazingly written quintet building up intensity from one soloist up to the full five and at the end withdrawing to the first soloist. On the album we have an enchanting performance by Luca Brugnoli, Victor Wiggin, Mathias Montoro, Dominik Clarke, and Benedict Bywater.
Concert
The song gains, when you can watch the five boys sing and see their commitment. That is very captivating! In the concert these were Luca Brugnoli, Freddie Mushrafi, Victor Wiggin, Daniel White, and Ludwik Kowalczyk, and they sounded tender as well as strong, depending on the progress of the song. This was another splendid performance.
Sing for our World
Music & orig. words: Elwin Hendrijanto
Translation & addit. words: Robert Prizeman & Dominic Ferris
Album
Hey, that's the second song which will definitely make you rock along, and be it while sitting on your couch! It is just so vigorous! I supposed before that it's more a live than a studio song, so although the recording is already very animating, let's go straight to the ..
Concert
... and get really overwhelmed by all that energy which came across! The song is full of variety and they could show off its fantastic choral arrangement. Great groove, boys!
Three Ships
Music & Words: Trad.
Arr.: Sam Coates
... was the vivid encore and it's just the right one to send you home energised and inspired!
Naturally, it makes a difference if you review a concert experienced in person or a recorded one. The live atmosphere you feel at the venue is missing and you only see what the cameras allow you to see. However, I was more convinced of this year's camera works, because a larger variety of angles was provided and anyway: I am super-grateful that a stream was provided at all!
I enjoyed Steven's conducting a lot! He conducts precisely and calm and his interaction with the boys obviously works completely fine.
The new speeches were highly appreciated and we have several new good moderators on board. My favourite was Laurence Davey—pleasant voice and very well spoken. Moose offspring was the most hilarious idea! And certainly successfully appealing at the audience's protective instincts, because how to resist moose offspring "looking for new homes"?! Smart ... Calling the back row boys "the bigs" reminds me of that interview with Sam Coates, where he talked about the older boys he had looked at with awe and that they became role models. Certainly calling them "the bigs" also expresses plenty of confidence and warmth and says something about the good relationship ruling inside of Libera.
Libera demonstrated a singing quality today, which I find extraordinary for pandemic times with the known rehearsing hurdles. They even managed to recruit and keep new mini-boys, so no worries about their future. Regarding this future, I'm most curious about Daniel Catalogna. and Morgan Wiltshire. With Daniel C. there may be another Libera star rising in the direct succession of Luca one day, judging from his clear and shining voice and his safe intonation as a high treble. He had diverse jobs that day. And Morgan, well, after his promising start let's see how it goes on.
I'm looking forward to each of the other members as well. It's amazing to watch them grow in Libera from their very start and I love to witness the big pool of great singers of which Libera and we all benefit! As for Daniel White. once more, it's incredible how securely he acts on stage and always has. The situation on stage he would not know how to handle doesn't seem to exist.
A personal relief for me happened during Daniel W.'s and Koji's speech, worth a quote: "It (the album) features some of our trademark Libera ingredients: some ancient chants, lots of harmony parts and [..?..] Daniel singing some very high notes." I cannot express enough how glad I am that with Sam Coates and Steven Geraghty two well-approved, long-experienced and, most of all, home-grown Libera musicians are now in charge of Libera. There had been some nervous thoughts in my mind about Libera's musical development. That remark from Koji gives me the confidence that they will maintain their typical style, especially the mystic elements, by which Libera became what they are for me and what makes them unique.
It was their first concert after the loss of Robert and they expressed their affection, respect, recognition and gratefulness for him in a deeply pleasant, calm way wherever they had the opportunity: speech, songs and a tribute text in the concert programme. All of that was heartwarming and felt exactly right.
"It was Robert's wish that Libera should continue, in all its manifestations." This is a wish we all share, I believe, and this concert was a very good sign.
Thank you, Libera choir with Sam and Steven, Libera staff, orchestra and everyone else for the concerts and the streaming! —filiarheni
On February 10th, a tweet from Cardinal Vaughn Music:
Libera boys involved in this production include: Top row left: Freddie Mushrafi and Daniel White. Lewis Quinn is third from right. Front row in white shirts: Laurence Davey and Victor Wiggin. A crowd scene from the English National Opera's 2022 production of La Bohéme. |
