The University Singers in concert at the Bank of Jamaica's (BOJ) 10th staging of an Evening with the University Singers at the UWI chapel on Wednesday evening. - Nathaniel Stewart Freelance Photographer

Michael Reckord, Contributor

It had to happen. After delighting audiences for some 50 years with its mixed-music concerts, the University Singers has, apparently, launched a new series of sacred music programmes.

The first of these, 'This Eastertide: A Programme of Sacred Vocal Music', which was presented in the University Chapel on Sunday, was an outstanding success. The choir - supplemented by special performances by two guests, both past members, Dr. Winston Davidson (bass) and Dr. Lucette Cargill (soprano)- got a standing ovation at the end of the hour-and-a-half long show.

Although plans for the future were not specifically announced, surely the audience response and the high quality of the singing will encourage the director, Noel Dexter, and the management committee to stage the sacred concerts annually.

As Mr Dexter explained in introducing Sunday's programme, the regular concert season does not give most of the choir's many talented members a chance at solo work. The concert showed just how many competent soloists there are in the group.

This Joyful Eastertide (Arthur Somerville), described by Mr Dexter as "a celebratory anthem," was the first item. The choir used the song to process up the aisle of the chapel. Its mood set the generally joyful tone of the evening, an appropriate one, considering it was Easter Sunday.

Soulful offering

The full choir sang only twice more. Half-way through Part 1, it performed God So Loved the World (J. Stainer), with Mr Dexter accompanying on the organ, and the concert climaxed with a soulful offering of a song based on St Francis of Assisi's prayer, Lord, Make Me an Instrument of Thy Peace.

Otherwise, soloists and duos dominated the concert. Their main accompanist, on piano, was Livingston Burnett; but the versatile Katherine Brown - singer, doctor and jazz musician- accompanied one song.

Without exception, the singers were at least good, in tone, diction and vocal flexibility. A few were exceptional, and the three-quarters full house applauded the good and, additionally, cheered the outstanding. Shawna-Gae Turner (soprano), singing God and God Alone, and Jhana Williams (contralto), singing Give Me Jesus (to a Dexter arrangement), got such prolonged applause that they did something unusual: after returning to their seats, they stood again and bowed to their admirers.

Other outstanding performances came from the following: Monique Sloley (mezzo soprano), whose big smile dazzled, singing The Palms (J.B. Faure); Dominick Frazer (baritone), singing I Walked Today (G. O'Hare); and the duo Franklin Halliburton (who also energetically conducted a few songs), and D. Greaves, singing Panis Angelicus (C. Franck).

The Spiritual Gonna Ride Up, arranged by Halliburton and sung by Ellan Edwards and C. Reid Cameron (sopranos), ended Part 1 on a glorious note.

Also singing in Part 1 were Tina Mowatt (soprano), Roy Thompson (tenor), Marcelle Thomas (mezzo soprano), M. Osbourne (baritone), Warren Thompson (tenor), Rochelle Brooks (soprano) and the aforementioned Kathy Brown.

Part 2 comprised seven songs, the final one by the full choir and three each byDrs. Davidson and Cargill. The former sang The Trumpet Shall Sound, Love Ye the Lord, both by Handel, and the spiritual Go Down Moses; while the latter sang Mozart's Alleluia, Handel's I Know That My Redeemer Liveth and the Spiritual He's Got The Whole World in His Hands. Both were polished, professional and sincere and added a mature gravity which balanced nicely the youthful effervescence of the Singers. They were undoubtedly part of the motivation for the standing ovation.