Performances of classical music do not always receive reviews in the press in modern times, so the entries below do not represent all the Symphony Choir’s performances.

Citizen, 27 October 2009

"Commemorative Performance "
MICHAEL TRAUB

CONCERT: Handel’s Greatest Hits - By now, all music lovers know that 2009 marks the 250th anniversary of the death of Handel, wrtes
SOLOISTS: Hanli Stapela, Nicholas Nicolaidis, Jaco Klopper
CONDUCTOR: Richard Cock, with the Johannesburg Festival Orchestra and Symphony Choir

This celebration, entitled Handel’s Greatest Hits, drew enthusiastic playing and singing from the forces conducted by Richard Cock, who put to-gether a programme which lived up to the title. There were items drawn from Handel’s operas (only in the last seven or eight decades enjoying a revival); the oratorios Messiah, Samson, Solomon, and Judas Maccabaeus, three of the Coronation Anthems; and two secular vocal works, Acis and Galatea, and Alexander’s Feast.

The Entry Of The Queen Of Sheba (from Samson), acted as an invigorating prelude to the afternoon’s events and this was followed by Zadok The Priest, the first (and most popular) of the Coronation Anthems.

I believe that many of the choral items sung were new to the Symphony Choir of Johannesburg, if so, the singers and Cock must be congratulated on performances of the utmost conviction and vocal security. The choral blend and the intonation were impeccable throughout.

The three soloists were all in the best of voice. Soprano Hanli Stapela managed the many florid passages with ease, tenor Nicholas Nicolaidis showed a welcome warmth and smoothness of tone, and Jaco Klopper dispatched the bass arias with penetrating tone and clear diction.

The Johannesburg Festival Orchestra played with refinement and accuracy.

Citizen, 27 April 2009

"Good form"
MICHAEL TRAUB

The almost annual performance of Handel’s best and most famous oratorio, Messiah, graced Joburg’s Easter weekend.

The Symphony choir was in good form (precisely focused top notes from the sopranos, for instance), and the Festival Orchestra played with enthusiasm and well graded tone-levels.
Richard Cock knows Messiah like the back of his hand, and his control was exemplary.
I do, however, take issue with some of the tempi in the quicker choral movements, which led to scrambling in the florid passages: these were vague instead of defined.
The soloists, too, had their moments of unclear articulation. As a group though, they did well.

The tenor Nicholas Nicolaidis, began rather gruffly but his tone mellowed as the music progressed. Soprano Bronwen Forbay, who studies in the US, displayed great power in the strongest passages, and Patrick Tikolo – whom I had not heard before – displayed a potent bass voice.

The best of the four soloists, however, was the alto Veramarie Meyer, who sang with affecting simplicity and offered a completely consistent timbre throughout her range.
The Hallelujah chorus was a triumph. It was quite a sight to see the entire audience rise, in accordance with tradition (begun by King George II), and remain standing till the final cadence.

The audience rose again at the end of the oratorio to give a heartfelt standing ovation for an uplifting musical and spiritual experience.

Beeld, Dinsdag 12 Julie 2005 bl. 04

Cock, soliste en koor puik in 'Nelson-mis'
Thys Odendaal

Jhb Simfonie-koor 25
Linder, Parktown

Na Haydn word dikwels verwys as "die vader van instrumentale musiek", met verwysing na sy enorme invloed op die simfonie en kamermusiek. Dit stuur ongelukkig weg van sy inspraak in vokale musiek, in die jongste tyd opera, maar lank reeds religieus - deur sy oratoriums, met die Schöpfung gewis die bekendste.

Dit is aan Richard Cock en die Johannesburg Simfonie-koor te danke dat hul 25ste verjaardagvierings ook 'n Haydn-koorwerk insluit, sy dramaties-opwindende Nelson-mis, beskrywend getitel Missa in angustiis.

Soos altyd was Cock volkome tuis voor die musikale kragte - 'n "klassieke" orkes, die groot simfonie-koor en vier knap soliste.

Die Kaapstadse sopraan Beverley Chiat, wat in die noorde al so onvoorwaardelik gepresteer het in Orff se Carmina Burana en as Gilda in Verdi se Rigoletto vir die Black Ties, het opnuut indrukwekkend gevaar, met suiwer artikulasie in die koloraturapassasies in haar oorheersende soloparty.

Die bariton Hendré van Zyl se stem klink nog jonk, maar sy stewige middel- en lae register het aan die basparty tog statuur verleen, met hope vokale belofte vorentoe.

Elisabeth Lombard se mezzo-timbre is ideaal vir dié mis. Nicholas Nicolaidis se klein bydrae was puik.

Hoewel die mansstemme in resonansie nie die vroue ewenaar nie, was die koor puik en trefseker.

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Stout effort at huge, difficult, Good Friday performance

ORATORIO: St Matthew Passion (Linder Auditorium)

SOLOISTS: Hanli Stapela, Violina Anguelov, Nicholas Nicolaidis, Don Boroughs, André Howard, Abel Moeng

CONDUCTOR: Richard Cock, with the Symphony Choir of Johannesburg, the Chanticleer Singers, St Mary's School choir, and the Johannesburg Festival Orchestra.

By MICHAEL TRAUB (The Citizen, 1 April 2005)

A performance of Bach's St Matthew Passion is a huge and challenging undertaking, for it lasts longer than many operas and makes tremendous demands on the singers and instrumentalists, both technically and interpretively.

This Good Friday rendering drew a capacity audience, filling not only the seats of the Linder Auditorium but also the side aisles. So much for tales that classical music does not draw audiences.

The performance was a worthy one, in which all the musicians were clearly trying to produce their best form.

The combined choirs were the glory of the evening, with especially moving singing in the beautiful chorales which dot the Passion at significant points.

The orchestra also played well - it was the soloists who disappointed. While they all tried to produce affecting music, they were generally unable to summon all the technical skills necessary to negotiate Bach's sometimes difficult lines. Particularly noticeable was the failure of technique when the lines became at all florid - the notes then tended to become a vague approximation to what was printed rather than an accurate traversal. Nor was vocal tone itself always pleasing.

Nicholas Nicolaidis undertook with confidence the demanding role of the Evangelist, but his tone coarsened under pressure and he went slightly hoarse as the performance neared its end.

André Howard always had a sharp edge to his tone. Don Boroughs and Abel Moeng were almost stymied by any demand for agility.

Hanli Stapela and Violina Anguelov were the most commendable of the solo singers, though still not without their difficulties of breathing and phrasing.

Richard Cock favoured rather fast tempi, and even the magnificent final chorus failed to make its fullest possible emotional impact through a lack of monumentality. Nevertheless, Cock's control of the entire proceedings was evident, even though his direction looked easy (which it is not).

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Donderdag 31 Maart 2005 bl. 11 Beeld Plus

'Groot asem' nog soek in dié 'Passie'
Paul Boekkooi

Matteus-Passie
Linder, Parktown 

Plaaslike uitvoerings van Bach se Matteus-Passie vind hoogstens een keer in 'n dekade plaas. Dié een, afgelope Goeie Vrydag, het saamgeval met die Symphony Choir of Johannesburg se 25ste bestaansjaar. Oor dié tydperk was Richard Cock hul vaste dirigent en inspirasie. Die feit dat Johannesburg dié omvangryk-geesverheffende, beskouende en epiesliriese werk kon hoor, is te danke aan Cock en sy bestuur se deurlopende ondernemingsgees.

In breë trekke was dit 'n vaart belynde uitvoering. Met beskeidenheid ten opsigte van die koor- en orkesbesetting voor oë, was dit kwalik een waarin dramatiese effekte óf die onvermoeide raakboor van dieper, verskuilde lae binne die musiek uitgestaan het.

Die potensiaal van pionierswerk is deur 'n mate van geroetineerdheid gefnuik. Laat ons egter realisties wees. Eersgenoemde is nie sonder veel meer intense en langdurige repetisiesessies moontlik nie.

Dus kan 'n mens by Cock se interpretasie gerus praat van 'n nuwe saaklikheid. Egte, deurleefde intensiteit en die "groot asem" ontbreek nogal. Ewewig tussen liturgies objektiewe grootsheid en 'n dinamiese, dramatiese bewoënheid was dikwels nog soek.

Sou dié Passie slegs 'n koorwerk wees, dan kon Cock se positiewe hoedanighede byna alles oorheers het, want die openingskoor het voorwaar 'n tragiese intensiteit oorgedra, die slotkore van die eerste en tweede helftes het teerheid en verdriet gesuggereer, terwyl die massatonele dramatiese krag en die sogenaamde turbae-kore 'n geladenheid uitgestraal het.

Daar was ook gepaste stemmingswisselinge in die korale. Met meestal hoogstaande koorprestasies, was dit tog veral in die tweede deel opvallend dat invalle soms weifelend was.

In die hantering van die soliste en orkes het te veel oningevul gebly en het dit aan 'n nuwe, histories gefundeerde besinning ontbreek. Oor die meerderheid soliste kan 'n mens egter positief berig. Die tenoor Nicholas Nicolaidis het reusagtige, welverdiende sukses as die Evangelis gesmaak. Hy het die verhaal bewoë, maar tog ook met gepaste afstand vertel. Don Boroughs se tenoorarias is deur 'n effense wekerigheid gekenmerk en 'n mens twyfel of sy stem die uithoeke van die Linder sou bereik het.

André Howard het in die bas-arias en as Pontius Pilatus uitgeblink met virtuose, akkurate energie. Hy het verering gesuggereer in "Gerne will ich mich bequemen" en was uitdagend in "Gebt mir meinen Jesum wieder". Abel Moeng (bas) se Christus was ten opsigte van vokale ekspressiwiteit té gelykmatig. Hy moet beide die Bach-styl en korrekte Duitse diksie nog volledig sy eie maak.

Hanli Stapela (sopraan) was tegnies en wat vokale uitdrukkingskrag betref dié keer nie op haar heel beste nie. Nieteenstaande die groot tegniese eise, kon aandoening nie uitbly in haar vertolking van die belangrikste arias en duette nie. Violina Anguelov (kontralto), hoewel hoogs professioneel, besit g'n ideale Bach-stem nie - te donker - terwyl sy, soos Moeng, nie altyd vlekkelose stylbesef weerspieël nie.

Die kleiner rolle wat uit die geledere van die Chanticleer Singers gekom het, was wisselvallig: van voortreflik tot uitdagend vokaal. By laasgenoemde het senuwees beslis sy tol geëis.

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Inspired oratorio a triumph

ORATORIO: Mendelssohn’s Elijah (Linder Auditorium, Johannesburg)

SOLOISTS: Beverley Chiat, Raffaella lo Castro, Diana MacLean, Jacques Imbrailo, Nicholas Nicolaidis.

CONDUCTOR: Richard Cock, with the Symphony Choir of Johannesburg and the Johannesburg Festival Orchestra.

By MICHAEL TRAUB (The Citizen, 15 July 2004)

This inspired performance of Mendelssohn’s inspirational music to accompany dramatic events in the life of the prophet Elijah was a major triumph for all concerned.

First to be singled out must be the conductor, Richard Cock, who tackled this vast canvas with assurance and insight. He held the choir together as if with steel cables, and there was scarcely a moment when the ensemble slipped. The orchestra, though sometimes as to the brass instruments, was also cohesive and obedient.

It took a while before the choir settled in as to pitch (sopranos on high notes at the outset, for instance) and balance (men a little too reticent), but the achievement in the long run was impressive.

The five soloists differed in their vocal qualities. First mention must be made of Jacques Imbrailo, who sang the role of Elijah with forceful tone (in the second half, often too forceful tone, which then led to some pitch discrepancies). His enunciation of the words was remarkably clear – is this important characteristic what overseas training gives to a singer? Furthermore, he was obviously immersing himself in the drama, and this told in his sincerity of utterance. Beverley Chiat was penetrating in the soprano part, Raffaella lo Castro much more cloudy in tone in the alto part. Diana MacLean made a sweet-voiced youth. Nicholas Nicolaidis has improved in tone since I last heard him, but there is still a tendency to sound strident in the forte passages.

A few small cuts appeared towards the end of Part II of the oratorio; they seemed unnecessary, even if there may be historical reasons for their adoption. There was a large audience to hear Elijah, nearly filling the Linder Auditorium. Would that the hall would be as full for symphony concerts!

What a pity that South Africa does not have the resources for a performance like this to be heard live in other major cities. Nonetheless, a recording was being made for radio listeners, who in due course will be able to get a chance to hear this magnificent oratorio.

'Elijah' lofwaardig
Paul Boekkooi

Elijah (Mendelssohn)
Linder, Parktown 

Mendelssohn se Elijah is in die Britse oratoriumtradisie die natuurlike opvolger van Handel se Messias en Haydn se Skepping. Wat taal betref, het Handel en Mendelssohn hoofsaaklik in Engels bly voortbestaan, die Haydn oorwegend in Duits.

Elijah is eg-Victoriaans. Die geswollenheid en bondige selfvoldaanheid van sommige van die groter tonele (byvoorbeeld die wedywerende offers) tel onder sy geliefste onderdele. Richard Cock, die Johannesburgse Simfonie-koor en die Johannesburgse Feesorkes het oordadigheid vermy en die werk se gewyd-dramatiese kern belig.

Na 'n ietwat tentatiewe begin, het veral die koor dié uitvoering bepaal. Uitstekende ensemblewerk het daarvoor gesorg dat meerstemmigheid kon floreer, al was die klankewewig vir nurkse luisteraars ietwat versteur deur die mindere resonansie van die tenore en soms die alte.

Cock het op dinamiese vlak heelwat bereik om beide die drama en rykdom van die teks aan sy koor oor te dra, met 'n paar mezza voces wat doeltreffend uitgestaan het. Die orkes het baie tot die atmosfeer bygedra.

Dink mens aan die soliste, maak of breek die sanger van die naamrol 'n Elijah- uitvoering. Die bariton Jacques Imbrailo het nie slegs tegnies nie, maar veral ook ten opsigte van sy vokale interpretasie geskitter. Soos wat die werk vorder, het hy sy karakterisering van die profeet steeds dieper laat resoneer, met sy aria It is enough 'n hoogtepunt.

Nicholas Nicolaidis (tenoor) het met sy gevorderde selfversekerdheid ware geesteskrag tot sy sang toegevoeg. Beverley Chiat (sopraan) was nie te gemaklik in die hoë register nie, maar origens betroubaar. Mezzo-sopraan Raffaella Lo Castro se volume moet nog ontwikkel, terwyl die stem te dikwels agter in die keel bly vassit.

Almal se inisiatief en oorgawe verdien lof.

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Laudable performance of difficult Mass

CONCERT:Beethoven's Missa Solemnis (Linder Auditorium, Johannesburg)

SOLOISTS: Beverley Chiat, Violina Anguelov, Nicholas Nicolaidis, Dawid Kimberg

CONDUCTOR: Richard Cock, with the Johannesburg Festival Orchestra, the Symphony Choir of Johannesburg and the Johannesburg Bach Choir

By MICHAEL TRAUB (The Citizen, 16 July 2003)

Beethoven's Mass in D major, usually referred to as the Missa Solemnis, . is an immense undertaking for all the musicians concerned. . The sopranos of the choir have over and over again to simg in the stratosphere without regard to comfort, and so does the soprano soloist. While it would be pleasing to report that pitch was no problem to the chorus, this was sometimes not the case, . in respect of the highest notes of the sopranos.

The four soloists were all well in tune, and managed most of their florid phrases with competence, if not real bravura. . Despite the occasional sense of tentativeness about the vocal attack, the performance must be accounted a success, and Richard Cock, who galvanised his forces with his personal zeal, has added yet another feather to his musical cap.

ORATORIO: St John Passion (Linder Auditorium, Johannesburg)

SOLOISTS: Nicholas Nicolaidis, Werner Nel, Natalie Dickson, Violina Anguelov, Chris Mostert, Jacques Imbrailo

CONDUCTOR: Simon Preston, with the Johannesburg Festival Orchestra and the Symphony Choir of Johannesburg

By MICHAEL TRAUB (The Citizen, 26 April 2003)

A packed house greeted this year's Easter oratorio, given, as is the custom, on Good Friday. It was the turn of Bach's dramatic Passion according to St John, the earlier of his two major Passions . Under the direction of the English conductor and organist Simon Preston, the performance was a great success, with only the slightest momentary flaws.

All the singing was convincing, and I had to persuade myself to single out two of the soloists listed for special mention. Firstly, I believe that Nicholas Nicolaidis has done nothing better than his assumption of the role of the Evangelist. This is a huge part, needing consummate expertise in the delivery of the Baroque recitative, and there was no failure in the delivery. Secondly, I must heartily praise the bass-baritone, Jacques Imbrailo, who sang with glorious tone and expressive intensity.

The Symphony Choir of Johannesburg was in good form throughout the evening . The opening chorus of the work was notable for very clearly enunciated (even aspirated) semiquavers from the choir, and all the chorales had a fine balance of tone between the voices. The closing chorus . lost something of its expressive thrust through being taken briskly . I prefer something weightier here.

Otherwise one could not fault Simon Preston's interpretation. His control was always evident, but it was not that of a martinet --- rather it was the control issuing from one who loves the music mightily. And who doesn't?

CONCERT: Symphony Choir of Johannesburg (Linder Auditorium)

PROGRAMME: Music by Beethoven

SOLOISTS: Thomas Hecht, Beverley Chiat, Nomthandazo Mkize, Nicholas Nicolaidis, Zizamele Shabalala

CONDUCTOR: Richard Cock, with the Johannesburg Festival Orchestra

By MICHAEL TRAUB (The Citizen, 29 October 2002)

The conductor Richard Cock was clearly in his element in this all-Beethoven concert, which . offered seldom-heard works: these were the Choral Fantasy and the C minor Mass. The piano soloist in the Choral Fantasy was Thomas Hecht, who gained immediate admiration for playing the work without the music before him. Hecht played not so much dramatically as classically. One notable feature of his playing was the rapidity and evenness of the trills.

The Symphony Choir of Johannesburg sang fervently, as did the vocal soloists. . The Mass in C major proved that . Beverley Chiat was technically the best singer of the four, although Nomthandazo Mkize and Zizamele Shabalala offered warm, rounded tone. . Once again the choir sang fervently in a work that is new to most of the singers (as performers, of course).

This mass is by no means as grandiose as Beethoven's later Missa Solemnis, but still affecting in its sentiment and musical content. .

PROGRAMME: Music by Mozart

SOLOISTS: Beverley Chiat, Matilda Paulsson, Nicholas Nicolaidis, Zizamele Shabalala

CONDUCTOR: Richard Cock, with the Johannesburg Festival Orchestra

By MICHAEL TRAUB (The Citizen, July 2002)

An all- Mozart concert, the main item of which was the famous Requiem, drew a capacity audience last Sunday afternoon. . The Requiem . was given a spirited rendering by all concerned. The Symphony Choir of Johannesburg suffers . from a shortage of male voices, but managed a fair blend and an adequate balance of tone. The orchestra, under the capable baton of Richard Cock, played with enthusiasm and subtlety.

CONCERT: Symphony Choir of Johannesburg (Linder Auditorium)

SOLOISTS: Robin Finlay, Beverley Chiat, Nomthandazo Mkize, Nicholas Nicolaidis, Dawid Kimberg

CONDUCTOR: Richard Cock, with the Johannesburg Festival Orchestra

By MICHAEL TRAUB (The Citizen, June 2001)

A varied and well-chosen programme of music by the classic masters Haydn and Mozart led to a good attendance and, more importantly, superior music-making. The Overture to The Marriage of Figaro by Mozart was given a deft reading, not so fast as to be scrambled, but nonetheless taken at a smart pace.

This was followed by Blöndchen's aria, Durch Zärtlichkeit, from Mozart's Il Seraglio. This introduced the audience to the talents of the coloratura soprano Beverley Chiat, whose bright voice easily encompassed the tessitura of the music. She lacked the last ounce of charm because her phrasing was slightly stiff.

She came into her full glory later in the concert with Der Hölle Rache, the Queen of the Night's aria from The Magic Flute, also by Mozart. Here Chiat's extraordinary facility and stratospheric range were displayed with wonderful élan. Predictably, the performance brought the house down.

The Symphony Choir of Johannesburg featured in Mozart's short motet, Ave Verum, and Haydn's Nelson Mass. In the latter work, the choir was joined by the four soloists, all of whom sang with well-judged expression and technical address. The choir itself was in good form, revelling in the many beauties of Haydn's ever-interesting score. One or two very high notes taxed the sopranos, though. Rounded sound and more or less clear enunciation of the words (which, in any event, music-lovers should know well even if they are not Catholics) were the order of the day (evening, that is!).

Richard Cock displayed his customary expertise in holding together the large band of performers.

More, please!

ORATORIO: Messiah (Linder Auditorium, Johannesburg)

SOLOISTS: Linette Wimbles, Christina Farr, Dana de Waal, Dawid Kimberg

CONDUCTOR: Richard Cock, with the Symphony Choir of Johannesburg

By MICHAEL TRAUB (The Citizen, 18 April 2001)

The annual Good Friday performance of Handel's Messiah was gratifyingly well attended, and those who took the trouble to come were presented with one of the better interpretations.

The ad hoc orchestra was in good shape, and the Symphony Choir of Johannesburg showed plenty of evidence of careful drilling - anyway, they must know Messiah almost by heart by now!

There was an interesting line-up of soloists - interesting because three of them were "new" and all three good, while the fourth, Dana de Waal (tenor) must be congratulated on taking over the part at the last moment because of the indisposition of the scheduled singer. De Waal did well, too, after an initial period of roughness, and certainly he showed no sign of uncertainty in his performance.

Messiah was directed by Richard Cock, who performed the score with the customary cuts in Parts 2 and 3 but he also substantially trimmed the Pastoral Symphony, the only purely orchestral number apart from the Overture.

Richard Cock knows Messiah like the back of his hand. His tempi were on the brisk side in accordance with modern interpretations of Baroque style. Occasionally, I felt the tempo to be even too brisk, which can lead to a curious skittishness - still, better that than the stodgy readings that used to be accepted.

Solid renditions of diverse and well-known choruses

CONCERT: Symphony Choir of Johannesburg (Linder Auditorium, Johannesburg)

PROGRAMME: Famous secular and sacred choruses.

SOLOISTS: Elizabeth Frandsen, Nicholas Nicolaidis

CONDUCTOR: Richard Cock

By MICHAEL TRAUB (The Citizen, October 2000)

A wide range of choral extracts, both secular and sacred, made up the 20^th anniversary programme of the Symphony Choir of Johannesburg, formerly the SABC Choir but now an independent organisation. For the entire two decades the conductor has been Richard Cock, who directed this concert with his customary flair, and introduced each item in his own inimitable fashion.

There were 18 items in all, and it is not necessary to review each one separately. Suffice to say that the choir was in excellent form. The blend of sound was good, the balance between the various voice-types satisfactory, and the obedience to the conductor exemplary.

The whole auspicious occasion was topped off by a party after the concert to which the entire audience was invited.