The Libera concert this time only had one highlight for me.
It was the concert itself.
Song after song was brilliant, and if that quality had ended after the first half of the concert, I would yet have been completely satisfied with the evening ... but still after the interval it went on and on and just never stopped. This has been my 5th Libera concert so far (which isn't much, but I am very engaged in music and concert-going, which may compensate it a bit) and this one was the best. Ely 2017 had already been perfect for me and so my bar had been set very high. After that concert, I thought that I wouldn't ever experience one any better. How surprised I was and am that I was so wrong! Libera has managed again to excel itself.
It was a highly attractive, nicely balanced set list and there were many different soloists, also many new, unexpected ones, and this variety simply caters to my wishes a 100 %. Reliability in musical abilities is fine, but I love the unexpected, the surprise in a concert. It doesn't really fit to this that for the first time I couldn't restrain myself from reading the complete song list before the concert (normally I read one half), but it didn't matter, as I put the programme aside during the concert and so, apart from
Mysterium and
Joyful Joyful, I forgot each song's position in the list and well, so I had my surprises nevertheless!
Having attended the sound check, I knew that
Mysterium would be sung (aw!), that Robert's
Ave Maria would be sung as well (awww!!), but when I then discovered even
Voca Me in addition, I was entirely happy! With these three song plus a new one, my evening was "rescued" in advance.
I start with the sound check, as it again felt like a pre-concert to me. I do enjoy that, because it gives a mini-insight in the choir's work, and we also could hear some of Robert's instructions. Furthermore, it is at least a tiny bit of a substitute of the concert series I wish to attend so much one day: To hear a song and being in a position not to be sad afterwards, but simply look forward to hearing it again quite directly. So sound check for me increases my overall enjoyment of a concert itself.
Someone had said previously that there would be exactly one new song and this one song was rehearsed, too:
In Paradisum. I found that song very beautiful and promising (very catchy btw).
So with all of that, I went into the concert already filled with joy and this joy very justified remained on that high level throughout the whole concert, with amplitudes exclusively upwards.
I never take notes during the concert, but this time I tried to be clever and record some after the concert in the hotel, but as it was late, I only whispered into the microphone and later I realised that hardly anything could be understood with any trick whatsoever.
And even though I was there with all my senses, it is unbelievable how many details I forget quickly. So please, if I got something wrong, let me know.
Torn between wistfulness and happiness that he's still there with Libera, I had seen that Alessandro was with the group, but not as an active singer anymore. He was now listed with Kavana and Matthew J. for the stage management. This has made me wonder every now and then, how the decision is taken and by whom, whether a former singer who would like to stay joins the deeper voices or takes over a role in the staff. As a balanced sound is needed, they can't have too many deep voices. I am always pleased to see the boys still remaining with Libera, it adds to my positive feeling about the Libera family and I hope that they as well as those who leave the whole group after their active singing time are all pleased with what they do then. - There were four deep voices today (Alex M., Marc, Camden, Gregor). Alex G. was standing next to them and seeing him there and hearing his voice later in "his" songs, I was suspecting ... Oh yes, the way of the boy singers' world.
Mysterium and
Joyful Joyful
Mysterium is one of my first-Libera-day songs and it has exerted an absolute fascination on me at all time. I thought that this would sure not be a song they'd ever sing live, but very soon was told wrong and since then, of course, I had been deeply wishing to experience it in a concert. So now this is half-way done - it was shortened and tied to the following
Joyful Joyful. I would certainly have loved to hear the song in full length. But I was well able to catch the atmosphere also by this shorter version; the sound check had prepared me, so it was no surprise and I listened, very aware of how lucky I was. It began with a flute solo, which I felt as rather friendly in relation to the upcoming gloominess, and then those keyboard sounds, which always have me picture triangles and rectangles of glass (now don't ask me for the reason
) dancing and sparkling in the air, came in and started that said gloomy atmosphere. I love it! Solo by Leo and the "ooo"s by the choir all were amazing. Leo is one of my high favourites anyway and I will come back to him later. The choir's "ooo" were seamlessly embedded in the instrumental setting and these voices created just the right eerie mood. Tense enjoyment of the song through and through.
There's a saying "Through difficulty through the stars" which in German is translated as "From darkness into light" and this describes perfectly the way I felt when the song changed into
Joyful Joyful, which also brought some kind of relief: Don't be scared anymore, and: Life is beautiful. I think if it was meant to happen that
Mysterium was connected with another song, then
Joyful Joyful was the best choice, exactly because of the contrast. All else would have seemed halfhearted, I must say, and liking this very pairing or not, this was a commitment and to me it makes sense that way.
In Paradisum (Ben Robbins)
was the next song. I had never heard it before and thought it was a song by Robert, until I later on read the programme. Here is some background information which I found quite interesting as you can see some relationship in musical life (the original can be found on youtube):
https://soundcloud.com/benrobbinsproducer
http://www.crossrhythms.co.uk/products/ ... sum/52696/
This song musically is very romantic and in its arrangement sustains the symphonic style of "Hope", so that's somehow consequential. I liked it a lot, especially the "Jerusalem" part of the full choir, which showered me with goosebumps over and over. Exactly this part was also the one which made me fear the harmonies would drift off to the sentimental, but it's very interesting: The Libera arrangement does not, while the original does (I listened to it afterwards)! The choir sings a long dissonance there, which breaks every danger of sentimentality. Big thank you, that is so good.
Total enjoyment. But most of all: Rocco! That very Rocco whose singing I loved so much in
Angele Dei and
Amazing Grace and I was shocked when I saw that on "Hope" he had the tiniest solo you can imagine. At that time, I began to beg secretly that they would record an entire solo song with him
in time. And now I'm close ... so glad.
So Rocco was amazing! Normal for him, no?
I am so impressed by his singing. He is very secure in intonation and there was a high note to hit as the very first note of
In Paradisum, which is generally difficult, and again: He just made it! Very charming song and actually, the original, whose singer sounds shrill and hard to me, can in no way be compared to the far more beautiful, gentle Libera version.
The Prayer
Well, this song just doesn't make it to my favourites, yet I enjoyed it that night! This is not surprising again, because hearing the songs live is different from only listening to album versions. There is always something that captures me when Libera performs on stage, no matter which song it is, since you have the full experience in one: the music, the room, the lighting, watching everyone act, the direct atmosphere. I am very glad that Daniel is capable of such a wonderful, entire solo at such a young age. He is my chance to be there right from the first moment to accompany the a boy's singing development over a couple of years - well, very hopefully. His voice and way of singing impressed me. They fitted the seriousness of the song, and he truly seemed older than he is. Touching.
Stay With Me
Also not one of my favourite songs in general, but today I had a double highlight with it: I just like Oliver's fine voice and I like him in his modesty. He sang very well and has all right in the world to lose his shyness.
And who sang the vocalises? I found it difficult over the whole evening to recognise who was standing up there on the pulpit and somehow I missed nearly every time who was going there and coming back, because the boys were mingling during that period to position themselves for the next song. The face of the individual soloist was darker which made me unsure, but - this soloist held his head inclined to the right and I had noticed, after assigning it as typical of Gabe, that now his brother Sam does exactly the same even in the same direction, which looks quite funny and cute when you see both of them doing so with a few boys' distance between them. So that looked a lot like Sam up there, and I am overjoyed that it indeed was him! I have a weakness for Sam, since I saw him in the London concert 2016. He, just like Josh, highly reminds me a of my younger son with his eyes and smile, so that is why. I must confess that I even felt a little proud of Sam with his solo ...
He did so well. How I now hope and look forward to hearing more of him - very much so!
And now ... enchanting, so moving, simply the best:
Ave Maria
This song was my pure dream of the whole evening! In every regard! It's a favourite song of mine right since the beginning, but somehow I never thought that I would be so gifted to get that in a concert, at least not already now, so early. I want to say an extra Thank you to Robert to have taken that into the set list! It is a slightly varied version with partly different lyrics and I totally liked it. Merlin sang a fascinating solo with his beautiful voice, and this solo no doubt won over the later
From a Distance, as Merlin's voice in
Ave Maria was gentle beyond words, super well fitting this very song and he was completely on point. Congratulations, Merlin! And the choir, simply marvelous! No joke: Their sound was like silk and their singing reminded me of a mild night wind, sweeping over the fields, and in this gentleness conveyed this imploring prayer in the best way I can imagine. How do they manage it to have make their sound match the individual song so perfectly?! Another example for Robert's excellent work with Libera and for Libera's quality.
And this time it happened: I cried me through half of the song. That mostly happens to me only at home, because normally in a concert my inner - positive of course - tension is too high, but this time Libera opened the watergates, no possibility to hold back.
I am longing for a recording of that and I HOPE with all my heart that the CD recording of the song has reached this high level and intensely touching interpretation.
One general note about Merlin: I find him extremely inspiring. This smile! It's very special. The smile and his whole posture are less like being happy about what he does than what he has, like a basic inner contentment, which simply belongs to his personality. Whatever happens, he will take it and live with it. That's how he appears to me. Admirable, very nice boy.
How Great Thou Art
I love this hymn which always reaches me. Alex G.'s voice was a bit breathy and I think I noticed a tiny effort. This is
no criticism, I just guess that his voice may have started to change, With adding a some more reverberation everything was fine. I like Alex and his voice, and his interpretation was excellent in both of his songs.
How Great Thou Art is one of the most moving Libera songs for me and very much appreciated to have it in the concerts.
Voca Me
A new version??? What for?
When I saw the new lyrics in the programme, I became frightened. Because the song is just so perfect, so complete. But thankfully there is no reason for that at all, as both versions can very well co-exist. The first solo verse was different in tune and lyrics and it was great! All in all the changes are slight. They left one part out, that is the first "Lacrymosa dies illa" section towards the end, when the song gets to its climax, but pauses for a moment to start again. I wonder if the "Beyond" version will be the same. Anyway: What a superb performance that was!
Leo's singing is effortless and his voice owns the flexibility which is needed for singing vocalises. His voice always glows; with
Voca Me I even had the association with a needle, so wonderfully precise and fine was it, and I'm enthusiastic about getting him with that singing on "Beyond"! He also seems to constantly enjoying himself in Libera, and I on the other hand enjoyed his enjoyment already very much in Westminster Cathedral last year.
Voca Me. 3rd time live for me. 3rd and very best, oh wow! The wandering to that climax was evenly increasing in dynamics, excellent.
That piece was gorgeous, enthralling!
Orinoco Flow
This is a live song for me! I never get captured very much by just listening to its recording, maybe because it's so much like Enya, but Libera live now electrified me! Very much vigour - felt like dancing in me.
I am the Day
Well, I said there was only one highlight, but who says that a highlight can't have highlights? So my third big one of the concert, together with
Ave Maria,
Voca Me and later
Nearer My God To Thee was
I am the Day, which started the second half of the concert. Already in London it had been great and so I hoped for a repetition of the event. Yes, here it was, very good once again, but this time more than last time I felt a total unity of the leading voice of Alex G. in the front with the whispers of the two others, Oliver M. and Peter, who stood behind him, thus forming a triangle all three of them. Their sound was incredibly well balanced! Such sounds, just like the whole
Ave Maria earlier, caress my ears.
Special was the lighting here. When the choir sang "Illuminosa", the room was suddenly submerged in light, both times when they sang it - and at the end the light became so bright that it was nearly white. Brightness in total for the words "in aeterna", what a strong statement!
From a Distance
I used this song to extensively watch Robert conducting, which I find interesting again and again: his movements, his interactions, his signs. Very impressive how "small" he conducts and without distracting anyone from what's happening on stage, but accurate and it is entirely clear what he means. He doesn't need the big. - Merlin was very good again, but as said before, what truly blew me away was his other song.
Then the only negative thing happened: Somebody in the row before me actually started clapping, when the last note was
not yet finished. Absolutely ruthless to do that, to the choir and to the audience. Apparently, I am in the minority finding that clapping after one, two seconds of stillness and coming back to reality would be early enough and I accept that others see it differently. But this clapping
into the song - this is intolerable.
Salva Me
is subscribed for being performed in an excellent way in each concert. 5 out of 5 times were just marvelous. Again I had to guess who was standing on the pulpit singing the "Salvas" and this time it was the haircut, which led me to the solution: Oliver W.-R., another very nice surprise for me that evening to see an unexpected soloist once more and he delivered flawless "Salvas".
Amazing Grace
will never be my song, but it's well appreciated when Libera sings it. Peter sang the solo and he has a lovely voice. I gather that he was very nervous, as he didn't hold the notes long. I know it from myself in such a situation: The heart beats heavily, the breath goes fast and the result is that you don't have enough air to sing the full length of a note. So I want to encourage him so much: He sang the song beautifully and correctly, so all his singing and his voice were just fine! I hope that he will gain self-confidence, which would be entirely justified - no need to be nervous, Peter!
Sanctus
Yes, this is a
Sanctus version I really like! Much better and more difficult to sing than the older one we heard in concerts and musically more interesting still than
Sanctus II, as it now has got more of Pachelbel's original. There is more movement and some new text was added. So this is another song I'm looking forward to on the new album, but most of all to have it replacing the old
Sanctus in concerts. That would be good and then I would not wish to push it out of the set list anymore.
Wayfaring Stranger
They did their usual V-form, but not as accurate as there wasn't enough space, but anyway, soloist Alex G. was placed in the middle in the background as we know it, but this time I couldn't see him for a long time, while he was singing his first lines and stepping forward to the top of the "V", because I was sitting to the side. But exactly that created a very special atmosphere for me: hearing, but not seeing him, yet knowing what he was doing and that he probably was illuminated from behind. Very mysterious!
The song itself just as I know it: Like
Salva Me: I've never heard that anything but very good, and the powerful message of the song captivates me each time.
Eternal Light
Hey,
Eternal Light! Who would have thought that this song would be in the set list?! I like it, but not that all too sugary "drawing up" of the note at "of" in "this miracle of light" and I was very curious, if the choir would do that here, too. And they did ... and it got me wondering if they do not just sing it that way, but if it is actually composed like this. In this case (which I am going to pretend from now on), I am very willing to like it better than before. A moved, friendly song radiating confidence.
My soloist wish of hearing Ben B. (after I heard the China concert-goers compliment him) had been heard and I am very satisfied now, I like Ben's voice very much. The lighting was similar to the one in
I am the Day and ended the song with the same bright light.
Nearer My God To Thee
This song was a real highlight, too. It's a still song and, musically simple, Libera's interpretation was extremely touching! It was sung as a sextet, slowly building up intensity by adding boy(s) by boy(s) after Merlin had started alone and then going back and closing the circle by reducing the number again. There were Merlin, Ben B., Alex G. (following each other in the order they were standing on stage next to each other) and Rocco, Leo and Alex M. It was sung a cappella and the intonation was very well in pitch. They were so good, all six of them! During the sound check, I had enjoyed particularly Alex M.'s deep voice, so there was something I actively looked forward to in the concert. His voice is so very pleasant and it added a wonderful warm tone to the group's singing and made the whole song round.
As far as I know, it has never been recorded for an album, so now it's time, isn't it? The next day, when I met three of the boys, I used the opportunity to let them know how much we wished to have it on the "Beyond" CD, but of course I was aware that they couldn't tell me anything.
Libera
The classic. And when I so far had secretly thought that the Leiden version with only one soloist was more "mine" and the duet version every time has come with something strangely delaying in it, I learnt today that it can indeed work very well also with two soloists - you made it, Alex G. and Rocco! The song flew easily just as it should be for the first time for my ears and I loved it.
The standing ovation after this last song of the official part came, naturally, without any hesitation and super-deserved! And then they gave us the best encore to let us leave with after the concert, musically and in its message:
Smile
Oh Victor with your irresistible and ever-shining smile, who else could have been chosen for that song but you?! And he just stands there, smiles and sings. It all looks so natural, so self-evident. And I really believe that he is as relaxed as he looks, because smiling does relax. And smiling is also good for singing again, just because it relaxes the body. So why should anyone wonder about how flawlessly Victor sang this song? And yet it is impressive, because he is so young and inherited the song from much older Gabe! He sang so well. Here I sit writing and smiling in memory, thanks to him.
And someone else drew my attention: Adam. As he was often standing on my side at the outer end of the choir, I could watch him well. He looked very dreamy all the time, but here in
Smile he simply carried me away with his rapt look. His eyes were permanently directed to the ceiling. He was fully in the music. I hardly could take my eyes off him and even missed listening closely to Romeo's recorder playing. I love it and it moves me to tears to see someone being so enchanted by music, and look at that age! Wonderful.
Second standing ovation, people jumped up from their seats. Then the concert was over.
Another boy who caught me today was Joe. How quickly he has developed! I remember how stoical he looked as a newbie at the London concert 2016. Then I heard and saw on pictures how funny he is and I can only guess he that is a little rascal, but what he sure is: He is in love with his music and performing. He permanently stood there throughout the concert, a bit leaned forward with an eager face like "More singing! More singing now!". The whole boy expressed so much enthusiasm and engagement that night that watching him was pure joy for me.
Koji is also interesting. He is much more serious than his brother Taichi had been. You can see his concentration. Taichi may be at the beginning of his voice change and looks more serious than I ever saw him, he always smiled such a lot. So I wonder if he might be a bit sad about his voice beginning to change ...?
This concert has been
one single superlative for me! This in so many aspects and I consist of thankfulness and am happier than words can describe to have been able to attend it. The music was great, the choir on best form and there are so many good soloists with very pleasant voices! So much of what I had wished was fulfilled. Is it allowed to be so lucky?
Thank you, Libera, Robert, just everyone involved in and around the choir, for this splendid, unforgettable concert which I will live on for a very long time!
Closing remarks:
- I missed Angele Dei (didn't think it would be taken off the set list so soon), but funnily only much later, because the concert was so captivating that I realised it only when another fan mentioned the fact after the concert.
- The tickets again were not controlled.
- The concert was not sold out. I wasn't able to get rid of my H5 ticket before the concert and the Ely staff had told me they would take it back and sell it anew, if it was sold out and it was not.
- I immensely enjoy the international atmosphere around Libera's concerts. I have always loved to meet people of other countries and languages, and it is amazing how we, coming from everywhere, different continents, cultures, are all united by the "Libera language".
***
Appendix off-topic:
On my way home to Germany, I ate something at London St. Pancras, producing some waste and after eating I faced the major problem how to get rid of it. I did plenty of walking through the station and also outside, but all was very clean, because there was no bin with waste! At last, I asked someone of the station staff and she pointed far away and said: "Over there is one, but you can also just leave it on a table, we have service people who clean up." I thought I had heard wrong and asked if she was sure and she was. Having an invalid foot, I did not at all feel like taking any more step if not necessary, and with the blackest conscience in my life I placed that waste bag on a table outside a café and walked away, when suddenly the loudspeakers announced through the hall: "Please remember to take all your belongings with you."
I did not.
And reached Germany safely a few hours later.
It's like poetry 