Beverley Dexter mesmerises audience

Andrews Memorial SDA Choir and Adventist Praise Chorale.

Justin Whyte, Entertainment Editor

A NATURALLY POISED and attractive stage presence is one of the fundamentals of a singer's successful presentation. In fact, deportment and stage image are almost as vital as the ability to sing.

One artiste which depicts such professionalism is Beverley Dexter, who recently appeared at the Evening of Elegance

concert at the University Chapel, Mona campus.

As the mutterings and unnecessary movements ceased and silence enveloped the beautiful edifice, on stage appeared an elegant figure in a flowing, floral evening dress, with high neckline, complemented by simple, attractive accessories.

Her first piece was The Lord Is My Light by McCarther. This piece matched her sweet, but big upper register. Her dramatic sweep and compelling stage presence matched her awesome voice.

But it was not just her voice that attracted attention. At 50-something, she performed as if she'll be on stage for a long time. She was especially outstanding in her delivery of Ride On King Jesus.

The audience was left to wonder why she was asked to sing at two different times that evening. I think the impact of her talent would have been more striking if she had appeared once.

Another highlight of the evening was the combined singing of the Adventist Praise Chorale and Andrews Memorial SDA Choir. The group produced beautifully modulated tones which were audible, accompanied only by a piano. There were some compelling moments in the work I Will Give Thanks. The choral rendition was powerful.

However, the soloist, who has a beautiful range which can be developed, lapsed into nasal tones. Then Came The Morning and The Battle Hymn Of The Republic were well executed and interpreted.

Cecil Cooper, tenor, gave an almost perfect reading of Anton Dvorok's Going Home. He also scored well with his performance of Love Changes Everything, by Andrew Lloyd Webber. The piece builds in a continuous line in its search for a High G.

Violinist Lisa Holness' interpretation of W.A. Mozart's Concerto No. 31st Movement was pleasing. However, her treatment lacked sparkle, although she was steadfast in principle and gentler in application of Fortiter In Re, Sed Suaviter in Modo. Seven-year-old violinist, Jessica Yap, who was gushing with confidence, gave an effortless presentation of Concerto In A Minor - First Movement by Antonio Vivaldi. The diligence and dedication she brought to the piece were fantastic. And she looked angelic in her beautiful full-length white lace dress. Guest artiste, Dr. David McCalla, should not have performed nine pieces, as he was a contributor to the programme and all the works were of similar vein. He chose Bach's Toccata And Fugue In D Minor, written for organ, to open his segment. The work is demanding and it takes brilliance to present a scholastic reading. Dr. McCalla's interpretation appeared dull and pedantic.

In order to give a good account, the work should be played on an organ with electropneumatic actions, pre-arranged stop combinations operating at a single delicate touch, among other complicated mechanical devices.

The Toccata (from toccare, meaning to touch) was designed to show manual dexterity. There was no display of contrasting figures, neither quick succession of timbre. And the climax was not fading enough.

The antiphonal passages did not appear entangled in glowing textures of tone. And the entry of the various voices with the subjects was hardly distinct. The "exposition", or coming together of all the voices, presented an unimaginable "episode".

It was the opinion of many that his best offerings were Sigfrid Karg-Elert's Now Thank We All Our God and the Jubilate Suite, by Gordon Young. The variation on Now Thank We All Our God, was unclear.

The Jubilate Suite showed his indepth knowledge of the work and composer. In fact, he brought out the expressiveness which pervades most of Young's works.

It should be noted that an audience needs to follow the programme and applaud at appropriate times, otherwise the performer can be distracted.

The programme format was satisfactory, but the concert started almost half-an-hour late. Unfortunately, latecomers kept coming in through the side door which caused a distraction. And the vote of thanks should have been given during the interval, so the audience could leave on a high. Accompanist Roger Williams, on piano, showed his deep knowledge of the works and gave an expressive performance. The Evening Of Excellence, guided by emcee Durval Graham, will be a memorable occasion for the Andrews Memorial SDA Church community.

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