MISSION STATEMENT

The Music Academy of St Andrew is a non-profit centre of musical excellence in cooperation with the St Andrew’s Church programme. The Academy provides fully inclusive performance and educational opportunities for musicians and audiences and contributes towards the cultural integration and growth of the City of Cape Town.

Review of Handel's 'Samson' on 15 December 2011 - 'Die Burger', 17 December 2011 (translated by Willem Bester):

Barry Smith and the St George’s Singers’ dazzling rendition last year of Handel’s oratorio Jephtha could not easily be equalled. But on Thursday evening, with a star-studded cast in a complete performance of Handel’s oratorio Samson, they succeeded.

Samson relates in dramatic way the Bible story of Samson and Delila. The star, British tenor Allan Clayton, sang the eponymous role with very great success. He was hardly recognisable from his photo. His normal hair style and clean-shaven face now appears like a real Samson: fully bearded and long haired. His strong tenor voice is beautiful, rich in sound, and excellently trained. Moreover, he communicated the grandeur and dramatic power of the title role with striking expressiveness. The other soloists were born in South Africa and are now achieving success abroad. Sarah-Jane Brandon’s rendition of the three roles of Dalila, a Philistine and an Israelite woman was a constant joy. Her beautiful voice is crystal clear and radiant, yet has a warmth and unique timbre that impressed me greatly. The countertenor Christopher Ainslie dazzled, but also moved deeply in the role of Samson's friend Micah. His superb technical skill includes astonishing breath control and outstanding diction. William Berger sang the bass parts of Manoa (Samson’s father) and the giant Harapha with conviction and intensity. Although his very beautiful baritone voice sacrificed richness of sound on low notes, his involved interpretation was very moving. Willem Bester, in the smaller role of the messenger, did not compare unfavourably in the least with the main singers.

The St George’s Singers had one overwhelmed with the exiting choral singing. The sound ranged from beautifully tender to powerful and dramatic; from tight legato to supple nimbleness; from clear fugal entries to soaring high sopranos. The Camerata Tinta Barocca with Quentin Crida as concert master was comprised of 22 members. Smith’s choices of tempi were lively, and the few moments that threatened ensemble playing were quickly restored. Highlights were the “Symphony of horror and confusion”, Paul Loeb van Zuilenburg’s excellent trumpet playing in the last choral piece and the slim texture in the Dalila aria, “With plaintive notes” for violin, cello, and harpsichord.

The church was packed to capacity and the artists were rewarded with a spirited standing ovation.

Pieter Kooij

The music critic of 'Die Burger' has once again rated a St George's Singers performance, Handel's oratorio 'Samson' as the highlight of the year (2011)! 'Die Burger', 26 Desember 2011: Keur van soet klanke

Review of all-Mozart concert on Good Friday 22 April 2011 - 'Die Burger', 25 April 2011 (translated by Barry Smith):

A moving performance of Mozart’s Requiem was given, amongst others, by Barry Smith, the St George’s Singers and the Camerata Tinta Barocca. In the first part of the programme three shorter works were performed. The motet Ave verum is only 46... bars long but the exquisite melody is unforgettable. Especially when it is so purely and richly sung. The Adagio for glass harmonica’, but transcribed for organ, was played by Grant Brasler. The duet Sub tuum praesidium for two sopranos, enchantingly sung by Lente Louw and Minette du Toit-Pearce effectively concluded the short first half. The Requiem in D minor K.626 is Mozart’s last composition. It was incomplete when he died at 35. His pupil Franz Süssmayr completed it, probably with precise directions from Mozart). Smith inspired with his powerful conducting. The St George’s Singers have only 35 members but they filled the church with impressive power and rich tone. The Camerata Tinta Barocca’s 23 members similarly sparkled. It seemed as if everyone played with great concentration and sympathy, without ever overpowering choir or soloists. Already in the Sequenz (the third part of the seven-part Requiem) the four singers had ample opportunity to shine. The baritone, Barend van der Wetshuizen began with the restful melody of Tuba mirum. His voice lies somewhat high for this bass part but nevertheless greatly impressed with his beautiful singing. The tenor Nick de Jager followed equally well with Mors stupebit and thereafter Du-Toit Pearce’s rich voice in the alto part. Finally came Lente Louw with the soprano verse. I was pleasantly surprised by her singing. The four singers’ voices blended beautifully in the quartet sections and contributed greatly to the success of the performance.

Pieter Kooij

Review of 2010 concert highlights in Cape Town - 'Die Burger', 22 December 2010 (translated by Pierre van Wyngaard):

"The brilliant performance in August of Handel's oratorio Jephtha was the highlight of this year's concerts for me. The soloists were a star-studded lineup of young South African singers that have made a name for themselves overseas: Colin Lee (tenor), Erica Eloff (soprano), Christopher Ainslie (countertenor) and Sophie Harmsen (mezzo-soprano).

The other big contribution of conductor Barry Smith, the St George's Singers and the Camerata Tinta Barocca was in April when they did a performance of the colossal St Matthew Passion. Even if everything was not perfect, it was extremely moving" - Pieter Kooij.