Reviews

Here are a couple of the Society's reviews.

The Dream of Gerontius: Edward Elgar
Fairfield Halls, Croydon. Saturday 23rd April 2005

St Cecilia Chorus and the South London Chorus
The London Elgar Orchestra
The John Fisher School Choir

Conductor: Susan Farrow Topolovac

When St Cecilia Chorus and the South London Chorus joined forces to perform what is deemed Elgar’s greatest oratorio, it was impossible to spot the joins. Both are expertly trained by the remarkable Susan Farrow Topolovac and ... the combined choir emphasised the best of both.

For those challenged by Cardinal Newman’s ponderous text, Farrow ensured that the drama was played out with all forces complementing each other. So, though there was no undue haste, the story proceeded without hesitation in the most enjoyable way.

The above is from the review appearing the Croydon Advertiser Friday 29th April 2005

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Israel In Egypt: Handel
Christchurch, Sutton, Saturday 20th March 2004

St Cecilia Chorus. Conductor Susan Farrow
The Fine Arts Orchestra. Leader Sophie Langdon.

No lice in their quarters!
St Cecilia Chorus in Sutton for ‘Israel in Egypt' was appropriate for once. Banstead Musical Society back in its old stamping ground, at Christchurch. This lovely building is a very satisfying venue acoustically. For it does not swallow up but aids the voices of this excellent body of some 70 singers.
Saturday's concert was most thrilling in every respect, visually and aurally. The Fine Arts Orchestra was in top form led by Sophie Langdon and the all-round balance, particularly in the first half (Exodus) of this largely choral collation, perfect. Words came through and the music responded well to the drive, and enthusiasm under the stick of Susan Farrow Topolovac, pipe trousered and flailing frock-coat. There were a few choral uncertainties and parting of the waves in the second half (Moses Song) but they hardly distracted from the overall impression, (particularly relevant for all the trials and tribulations of Israel's enemy as all came together again after the division of the waters.)
A fine assembly of soloists had relatively little to do except display their various contrasted voices in the few duels and arias. I think it was a mistake and distracting to separate the splendid baritone (Matthew Brook) and matching bass (John Llewellyn Evans) so extremely for their duet, which required constant neck-swivelling to keep them in focus anywhere near the front row. Not so for Lesley-Jane Rogers (soprano) and elegant Deborah Miles-Johnson (mezzo) who combined to produce equally lovely sounds, none more so than the spinto thrill of tenor Nicholas Mulroy whose recitative introduction to the work was fulfilling, as was his every but scarce number. I am sure this no-doubt expensive line-up will be heard again in a more demanding work with more to do.
The orchestra was in top form and nobody could fail to be impressed, especially by the fine playing of the strings as they fizzed and whirred, giving us flies and locusts to torment the Egyptians. It was enough to stir one's imagination and the chorus added to the incentive.
A great work for chorus, it was their day. A very experienced body of singers and they didn't disappoint. No lice in their quarters! No scratch choir this! A plague of goodness. Well done!

This review by Gordon Bull appeared in Words and Music, May/June 2004

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