It's good to know that in these days of financial recession, there are still companies willing to support the arts. Solid Energy, not one of those greedy power companies, thankfully, has put its support behind a group of 17 singers from Southern Oper hence the name Solid Energy Ensemble. Energy they have in abundance, and a solid background in singing and performance. This talented group of mostly young people have been given the opportunity to showcase their skills.
The evening raced and tumbled through an eclectic repertoire of dramatic opera, Gilbert and Sullivan and Lloyd Webber, to name a few. Under the direction of Holly Mathieson and ably accompanied by Alison Holden, whose keyboard never seemed to be still, the singers took us on a journey of musical treats through a cunningly devised programme under the headings of the seven deadly sins.
Who can name them? Lust, gluttony, sloth, avarice, wrath, envy and pride; music seemed to be able to provide plenty of examples of these objectionable vices.
The most amusing was a lugubrious rendition by all seven men of This Nearly Was Mine from Rogers and Hammerstein's South Pacific, illustrating the sin of sloth; the most apt the delightfully nasty Donna Alley singing Sondheim's The Ladies Who Lunch.
The ensemble gathered in strength after a rather slow start and treated the audience to sometimes tantalisingly short performances.
I would have loved to have heard more of the Hansel and Gretel duet between Polly Ott and Megan Wright. These two singers gave us some lovely harmony and a fine little piece of acting.
In fact, all the singers acted well, with just the right amount of stage movement and effective grouping. They showed their obvious enjoyment and comfort in working together. Fans, bright shawls that doubled as witches' head scarves and gypsies' skirts, swords and cups and saucers were made good use of as minimal props.
At times the full ensemble sang, and in these moments the full strength of the choir could be appreciated. At other times, such as the careful balance and harmony of the four-part unaccompanied Hush No More, Be Silent from Purcell's Fairy Queen, there was a sensitivity that can only come from training and good directing.
This was a lovely performance, the first in a series of three concerts, by a group of talented and enthusiastic singers. Sins they do not have; seven heavenly virtues may be more fitting, but there was tragedy and humour aplenty in a night of fine entertainment.