This month I participated in wrapping up the Crouch End Festival Chorus concert season with two performances of Rachmaninov’s Vespers, Op. 37, also known as the All-Night Vigil (or Всенощное бдение, for those of you versed in Russian).
Composed in 1915, Rachmaninov’s Vespers is a monumental work: 15 movements of Russian Orthodox texts set a cappella with lots of lush, thick harmonies. As our director DT pointed out, recordings of the piece can last anywhere from 50 to 75 minutes, depending on who is conducting. DT opted for us to sing a speedier rendition, clocking in at 50-53 minutes.
Interestingly, Rachmaninov kept the texts in an older form of Russian, which was more phonetic than modern Russian. For example, in today’s Russian the letter о would be pronounced as а after some consonants. In the Vespers text, the о‘s remain о‘s. (Side note: in our first rehearsal of the Vespers, my brain got quite confused because I could read both the Cyrillic and transliterated texts so didn’t know where to look. I opted to cross out the English transliteration and read the Cyrillic instead. I had to put in some pronunciation reminders for myself, though, since even the older Russian is less phonetic than Ukrainian. It was fun to brush off my Cyrillic-reading skills.)
Language digression aside, the Vespers are much harder to sing than they sound. Lots of hairpin swells, dynamic changes, and sopranos having to sing high and ppp — not to mention the Russian. All those elements together meant I didn’t enjoy singing the piece quite as much as I thought I would, but it was certainly a good challenge and I did like singing in Russian. Have a listen while you’re reading the rest of this post:
We bookended the Vespers with four short a cappella works: Grieg’s Ave Maris Stella, de Victoria’s O quam gloriosum, Gabrieli’s Jubilate deo, and Lotti’s Crucifixus a 8 (total musical orgasm — just have a listen below — also that guy is impressive).
We performed this musical program twice: first at Southwark Cathedral in London (where we sang summer concert #1 last year) and then at St. John’s College Chapel in Cambridge. Southwark has great acoustics, but the concert there was tough: it was a Friday evening, so everyone was tired from the workweek; the cathedral was way too warm; there were a lot of us positioned close together but facing out (naturally), which made it hard to hear the other parts.
The concert in St. John’s Chapel was completely different: it’s smaller than Southwark and has incredible acoustics — probably the best I’ve ever experienced as a singer. We performed in a horseshoe shape, which made it easier to hear the other parts. It was also much cooler. There’s a benefit to performing the same program twice (and the second time on a Saturday) — we were all more rested and relaxed, and it was inspiring to sing in such a beautiful and resonant space.
The St. John’s audience was very appreciative and the Rachmaninov harmonies sounded glorious. F said it was his second favorite concert of ours, after February’s Monteverdi Vespers. I’m glad to have finished the concert season on a high note (ha!). Stay tuned for the new concert season…
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