2019 US Summer Tour

[gingerthedog1]

Thank you for your detailed review ! Can't wait to read the second part. I could hear each song as you described the emotion, very powerful !
I saw you mentioned the group from "two years ago", was that the last time you attended a Libera concert ?

Yes, I saw them in Westlake 2017. The sound is slightly different now, with different soloists, but I can barely tell. The quality remains the same.

[bachmahlerfan]

Well, the latest tweet from Eimear Mcgeown is quite interesting!
https://twitter.com/Eimearflute/status/ ... 2134277121

[Surpinto]

Thank you for the review, gingerthedog1. Can't wait for part 2! Some of the finer details you mentioned escaped me during the show. I did not notice, for example, that the choristers were less likely to correct each other because I have never noticed such correction whatsoever during a concert. So I am now intrigued by the fact that I must have missed that all these times. Do they signal each other somehow?

After I wrote my own review I realized that I had not given adequate credit to the choir as a whole and instead, as I tend to often do, focused on personal highlights and things that caught my attention. Your analysis of the choir being well blended on certain songs in particular is very correct and they will only get better as the tour goes on with any rough spots. However, as you pointed out, their performance was solid and the fact that there are so many boys in the slightly younger age range delivering that very same solid performance speaks volumes (pun intended).

Your review here demonstrates that everyone has something unique to bring to the table of our mutual enjoyment of Libera. Your capacity for observation of the finer details is very unique - I do not recall anyone in the past reviewing a concert by contrasting the firsts, seconds, thirds, etc (or is that not the right terminology?) across an entire concert. In reading your review and then playing the concert back in my head I can see exactly what you are referring to and this allowed me to hear the concert again; but differently. That is very unusual for me so your part 2 will have 110% of my attention - no pressure.

I enjoyed meeting fans from around the world. Around me, there were people from New York, Japan, Ohio, Wisconsin, and Poland. In just one little corner. After the concert I was glad to meet many forum members. I would like to especially thank surpinto and andmar for being very welcoming and inviting. Meeting you all made my trip so much more worthwhile!

Meeting you was a real pleasure and it is always so nice to meet new fans and to discuss music with them. Thank you for being such a fun and interesting person to chat to.

[filiarheni]

Thank you, Surpinto, for your review!

[...] the acoustics were really special with the last note of a song lingering in the air for a few precious seconds allowing the fullness of the piece to settle in. Wow!.

Yes! I entirely share your feeling that this resonance belongs to a piece and should therefore not be interrupted by pre-mature applause. So I'd like to ask you if the audience admitted this settling in by waiting with clapping?

With that being said, “Poor Little Jesus” was my favorite of the night. [...] the piece itself had a sort of dignified and slightly restrained air about it that made it all the more appealing somehow. It was like you were getting a small taste of something much grander; something which, if you experienced it, would be too much to handle, a light too bright…..or something like that.

I loved reading that and can relate also to this. And I have experienced a "too much to handle" not only via "if you experienced it", but also in another sense directly through a song itself in a Libera concert, where the music in its moving effect can sometimes feel like waves crashing over me, so that I don't know where to go to with my feelings.

Now, on to one of my other favorite songs: “In Paradisum”. As I have only heard it sung by Rocco (recording + 2018 concerts) Oliver WR’s solo differed from Rocco’s and that takes some getting used to. It is hard to get used to a different boy singing a piece that requires such an exceptionally difficult solo; a solo that is rather central to the song in fact. But Oliver did a lovely job on it and as this song requires a lot of range and perfection I applaud him for that.

I love Rocco's highly beautiful voice, but I found Oliver WR an adequate successor for the song in Arundel. However, I know what you mean - Rocco's voice is no doubt special! While for me, Rocco formed a true unity with Angele Dei, more so than with In paradisum and Salve Regina.

[gingerthedog1]

I did not notice, for example, that the choristers were less likely to correct each other because I have never noticed such correction whatsoever during a concert. So I am now intrigued by the fact that I must have missed that all these times. Do they signal each other somehow?

Yes, two years ago I noticed many boys would communicate, usually through glances, turning of the heads, and even turning their body at times towards a particular direction. This would more often happen during rehearsal, but the concert was full of it was well. I suspect they let each other know when someone is making a mistake and to keep each other in check. These days, it happens so much less, but I do notice some boys still doing minor checks and subtly leading other boys.

This type of checking was less common in the TDL and Isaac era, more common the past two years, and has started to phase out once again. It seems to depend on the culture of the current members in the choir

Your capacity for observation of the finer details is very unique - I do not recall anyone in the past reviewing a concert by contrasting the firsts, seconds, thirds, etc (or is that not the right terminology?) across an entire concert.

Yes, during their interview last summer Alex G revealed that he was a three, and Daniel had started as a two and was now singing with the high firsts. That is how the boys and Robert referred to their parts, at least. Ones sing melody, twos sing a little below the melody, threes sing even lower. High firsts sing the highest notes, of course.

That is very unusual for me so your part 2 will have 110% of my attention - no pressure.

None taken

[Surpinto]

Thank you, Surpinto, for your review!

[...] the acoustics were really special with the last note of a song lingering in the air for a few precious seconds allowing the fullness of the piece to settle in. Wow!.

Yes! I entirely share your feeling that this resonance belongs to a piece and should therefore not be interrupted by pre-mature applause. So I'd like to ask you if the audience admitted this settling in by waiting with clapping?

Yes they very much did which added to the magic. No one in the audience was rude enough to applaud or shout anything until the note had diminished which made the effect all the more pronounced.

With that being said, “Poor Little Jesus” was my favorite of the night. [...] the piece itself had a sort of dignified and slightly restrained air about it that made it all the more appealing somehow. It was like you were getting a small taste of something much grander; something which, if you experienced it, would be too much to handle, a light too bright…..or something like that.

I loved reading that and can relate also to this. And I have experienced a "too much to handle" not only via "if you experienced it", but also in another sense directly through a song itself in a Libera concert, where the music in its moving effect can sometimes feel like waves crashing over me, so that I don't know where to go to with my feelings.

Exactly!

Now, on to one of my other favorite songs: “In Paradisum”. As I have only heard it sung by Rocco (recording + 2018 concerts) Oliver WR’s solo differed from Rocco’s and that takes some getting used to. It is hard to get used to a different boy singing a piece that requires such an exceptionally difficult solo; a solo that is rather central to the song in fact. But Oliver did a lovely job on it and as this song requires a lot of range and perfection I applaud him for that.

I love Rocco's highly beautiful voice, but I found Oliver WR an adequate successor for the song in Arundel. However, I know what you mean - Rocco's voice is no doubt special! While for me, Rocco formed a true unity with Angele Dei, more so than with In paradisum and Salve Regina.

Yes, and I hope that it didn't sound like I was diminishing Oliver WR, he did a great job. It's just that Rocco put his own mark on that song in such a way that, to me, it was worth mentioning the differences. To me Rocco's input on all three of the pieces you list was excellent but his solo part on "In Paradisum" stands out to me particularly for some reason. He did an amazing job on "Salve Regina" (recording) and "Angele Dei" (concert) and his singing the latter is a defining memory for me from the 2017 tour. But with "In Paradisum" Oliver was up against a very special performance and I was highly impressed by him. He handled this rather challenging song quite well with no flaws to speak of and is a highly capable soloist as we saw with him on the high notes and such that he did before He has now put his own mark on "In Paradisum".

I did not notice, for example, that the choristers were less likely to correct each other because I have never noticed such correction whatsoever during a concert. So I am now intrigued by the fact that I must have missed that all these times. Do they signal each other somehow?

Yes, two years ago I noticed many boys would communicate, usually through glances, turning of the heads, and even turning their body at times towards a particular direction. This would more often happen during rehearsal, but the concert was full of it was well. I suspect they let each other know when someone is making a mistake and to keep each other in check. These days, it happens so much less, but I do notice some boys still doing minor checks and subtly leading other boys.

This type of checking was less common in the TDL and Isaac era, more common the past two years, and has started to phase out once again. It seems to depend on the culture of the current members in the choir

Fascinating! I had no idea.

Your capacity for observation of the finer details is very unique - I do not recall anyone in the past reviewing a concert by contrasting the firsts, seconds, thirds, etc (or is that not the right terminology?) across an entire concert.

Yes, during their interview last summer Alex G revealed that he was a three, and Daniel had started as a two and was now singing with the high firsts. That is how the boys and Robert referred to their parts, at least. Ones sing melody, twos sing a little below the melody, threes sing even lower. High firsts sing the highest notes, of course.

Yes, I remember that interview now. Still cool that you reviewed the different parts.

That is very unusual for me so your part 2 will have 110% of my attention - no pressure.

None taken

[maartendas]

Thanks very much for your engaging review, gingerthedog1! Looking forward to part 2.

I love Veni Creator Spiritus, and Dominik began very unassuming, in a humble tone. His voice seemed kind and gentle, and he was soon joined by eight other boys in a similar fashion. Like plainsong, I found the lullaby comforting and relaxing.

Ah, but Veni Creator isn't a lullaby It is in fact a prayer to the Holy Spirit, sang in churches, most commonly on or in the days leading up to Pentecost.

Then came Angele Dei. Dominik stepped forward and began, very hesitantly. His voice was beautiful, and very strong, especially in the tuning of the highest notes. However, he seemed uncertain about his singing.

I'm surprised, as I have always seen and heard Dominik sing with full confidence. Then again, we're all human, we can sometimes have our lesser moments. I'm sure he is well aware of his overall qualities as a singer. I know I am!

Oliver and Sam began on Stay With Me. They are both perfect for the song. Oliver had great tone which reminds me of honey. It is young sounding, light and heavy at the same time. It is very smooth.

Beautiful description!

[henrylonghorn]

My impression of the Saint Paul concert on July 26 - (please correct me for any mistakes in memory)

On a hot and humid summer evening, many hundreds packed into the tightly-spaced pews of the Cathedral of St. Paul. Some took advantage of the remaining daylight to explore the century-old sanctuary, up until the orchestra musicians took their seats followed by Mr. Prizeman himself.

The usual no-recordings-allowed announcement was made by Daniel. Unlike last year's US tour, there wasn't a grand entrance of the entire choir right away. Rather, the amicable Dominik emerged from the darkness himself to deliver the first notes of Veni Creator Spiritus. Gradually, seven of his companions joined him, and the audience was quickly captivated by the haunting voices that reverberated off the stone domes and walls.

As I expected, the tour essentials that followed - Orinoco Flow and Sanctus II - did not disappoint. What struck me was the flawless high notes, descants, by the likes of Sam Collins, [another boy], and in particular the US-tour-newbie Luca, throughout the concert. Although one of the littlest guys on stage, Luca could be the next great treble and a successor to Leo or even TDL. That would answer every Libera fan’s prayer, right? (no pun intended!)

I’ve loved Angele Dei since it came out on Hope, and the rising and falling of voices, the call and response in the live rendition was the most haunting. Next, Daniel delivered his signature piece The Prayer as confident as ever.

Not having done my homework of reading previous concert reviews, I was pleasantly surprised to see Tadhg come forward for Salve Regina. Tadhg, just like Rocco in his treble peak, sang in a distinctly emotional and intricate voice, including occasional vibratos. Unfortunately, I think he had some technical difficulties with airflow for some longer notes in the end. I was sad to see the disappointment on his face, especially as he was flooded with white light in the center stage. However, he recovered and sang really well in the second half.

Angel was redefined by Daniel’s confident, straight-forward voice, which contrasted greatly with Isaac’s more delicate voice as heard on the recording. Although Daniel sang really well with no mishaps, I will need some more time to acclimate.

Who stood in the back and sang the descant in Voca Me? His notes were on-the-point and thrilling.

My applause goes to Oliver WR for taking on In Paradisum. He was calm and steady despite the difficult melody.

By the second half of the second half, the boys were visibly tired with some trying to cover up their yawns or wipe away sweat. The humidity, heat (and more heat on stage from the lighting), and lack of airflow in the venue definitely exacerbated their exhaustion from jetlag - it was nearly 4 A.M. GMT. In fact, it was so uncomfortable that many folks in the audience started to fan themselves with the program books. (We should have Libera-branded fans for the fans in the future!) I cannot help but appreciate the boys for sticking it through in their heavy robes.

As an example, Oliver M looked and sounded very tired for his solo in Always with You (the 6th-to-last song). It was tough to watch from a fan’s perspective, and I will have to wait for the next concert to comment.

Cassius’ solo in Amazing Grace was another highlight of the show and won much applause. The song has been a US tour essential, and rightfully so, because it touches many souls.

Poor Little Jesus was a touching piece also, however its position right after the uplifting Libera was strange.

Libera, Exultate, and America the Beautiful were all performed energetically with tactical support from the lighting technician. The gray stone walls and dome had a multiplicative effect on the colorful lighting. Furthermore, the last notes by the whole choir echoed for a full five seconds. All three songs received resounding applause, and America a final standing ovation.

In conclusion, this was a great first concert of the tour, given the numerous soloist changes and US-tour newbies, the inevitable jetlag, and the unforgiving environmental conditions inside the cathedral. The young ones seized the opportunity to shine, while the new main soloists assumed the mantles (or robes, rather) of the stars of yesteryear (Rocco, Leo, Merlin, Gabe, etc.) with great promise. I can’t wait for their Oklahoma concert!

[bachmahlerfan]

Well, if there was one thing I would have done differently, I would have made sure to get a seat that was more directly under the central dome of the Cathedral of St. Louis. I wasn't way back, but I was kind of on the edge of the dome. I spoke to a couple people who have been involved in the Cathedral's choir, and they said that when music is coming from the sanctuary, you really need to be in just the right zone for optimal acoustics. As a result, some of the music sounded like it was coming "from a distance." I think the Cathedral of St. Paul has a broader zone where the acoustics are optimal. Also, they were farther back from the audience in the St. Louis Cathedral, which is probably another factor.

I didn't think I would say this, but I agree with reviewers who thought that "Poor Little Jesus" was one of the big highlights. In fact, I think a couple more songs like that one with light accompaniment would have been nice. I was very impressed with Luca's talent as a soloist on this song and the other songs featuring him. I like "Exsultate", including the new intro for the song, and I thought the change in mood after "Poor Little Jesus" worked very well. And, to top that off, "America the Beautiful" really sounded good. By the way, did anybody hear thunder near the end of the concert? I think it was during Exsultate.

Orinoco Flow didn't work as well in my opinion in terms of balance and overall impact. The balance and cohesion felt off to me during some parts of Sanctus as well. After hearing Angele Dei live, I agree that it's impact is stronger in a live concert, but I still enjoy the studio recording. There were a lot of things earlier in the concert that bothered me (not the opening chant, it was just fine), and I was actually getting rather anxious, but things improved somewhat after that. Voca Me was good for the most part. The final buildup was pretty effective, even if you can't make out some of the finer details in that acoustic. I'm 50/50 when it comes to Stay With Me. The acoustics enhanced many parts of the song, but I was missing the more intimate, up close atmosphere during the solo sections. I don't want to say much about individual solo performances. I certainly enjoyed a good number of them, but I think a couple soloists need to be more relaxed.

If you need proof that I was actually present at the concert, I did speak with the two Libera enthusiasts handling the merchandise at the entrance before the concert. And, I came back a second time to ask about Eimear's recent twitter post. If they totally forgot about me, then you'll just have to take my word for it.

I'm curious to hear some of your opinions regarding the acoustics at the St. Louis Cathedral vs. the Cathedral of St. Paul.

[gingerthedog1]

Part 2!

During the intermission, myself and other fans took some time to marvel Luca’s new solo on Voca Me as well as appreciate the quality of the choir. I don’t believe I have ever heard it performed so well, even compared to the DC recording. Then, the orchestra started to tune and Dominik walked on the stage by himself to start How Great Thou Art.

This time, he had completely regained his confidence and was singing like he owned the stage. While Dominik struggled a little to fully project his voice with the low notes, I noticed that his voice really blossomed on the highest notes, as in the first half of the concert. His pitch was pinpoint accurate in his high range. Although he is ‘old’ by Libera standards at 12 years old, I think he is still pretty far away from his voice break. As he grows bigger, his lower range will become more steady and rich, and he will find greater breath support with a bigger set of lungs.

in this performance he looked quite little standing by himself on the stage and brought out the innocence of the music. For such a large, majestic piece of music, his solo brought out the calmness and gentleness of the song, like he was in the eye of a storm. When the whole choir joined in, the largeness and force of the full song hit, nicely contrasting the solo beforehand. The choir showcased its ability to project sound while maintaining blend and technical quality.

Victor then walked very confidently into his spot for Wonderful World. He was already smiling, clearly enjoying himself before the song even started. Again, Victor’s brilliant and joyful voice matched the song. This one was another highlight for both the boys and the audience. The choir was adept at singing in unison, but also singing the very complex harmony part in the middle of the song. Here the threes and the lower voices played another very important role, having featured sections as well as adding luminous depth to the harmonies.

I noticed that the sound people would project the microphones of the lower parts a little at certain sections of the song. This was slightly distracting for me. As mentioned before, the projection would usually happen in the left speaker, which was close to my spot. I took it as a chance to appreciate the often underappreciated tenor boys’ voices.

Victor’s last line was done acapella, and his pitch was so precise that I was awestruck. He finished very strongly. The American audience appreciated the familiar song. He was a standout for me this concert.

Oliver WR then started on In Paradisum. His voice was so clear it reminded me of traditional cathedral chorister singing. Very pure head voice, light, little vibrato with no hint of breathiness. Though Rocco has a powerful and woodwind like tone to his voice which also suits the song, I think I prefer Oliver’s version. He is able to communicate a lullaby like meaning to the song, and it sounded effortless.

Sam stepped forward to accompany Oliver for the second verse, and he did a great job as well. Oliver’s last note literally rang out in the cathedral and echoed for longer than usual due to its purity of tone and pitch. This was another one of my highlights for the concert.

How Great Thou Art was taken up by Matthias, whose shining and gentle voice reminds me of Camden’s. It is deep and sounds almost like wind rustling leaves, a pleasant airiness. The choir great on the last verse of this song, which was done with minimal accompaniment.

Oliver M and Luca started on Always With You. Oliver did well finding the pitch and counting the rhythms for this difficult solo. Luca, as another poster said, delivered album worthy high notes. I find that Luca sings somewhat shyly , even though his sound is not so. He is very young and will gain ease with time.

Amazing Grace, one of my favorite Libera songs, again showcased the young, heavily blended sound of the choir. This batch of singers is particularly adept at unison singing. When Cassius started his solo, my eyes were on Robert the whole time. His conducting was extra energetic, detailed and expressive. He counted every beat, showed every lift, expansion and decrescendo with his baton, and even shook it a little at the end of long notes to encourage a tremolo.

It was clear he was encouraging young Cassius along, like a father watching his son play a sport for the first time. It was very cute and heartwarming, I could tell Robert really wanted the boy to succeed. Cassius sang as if none of Robert’s encouragement was needed.

Libera was more playful and buoyant, due to the different sound of the boys soloing and making up the choir. It surprisingly fit the song well. The four high noters stood out, and Sam did a great job leading Neo, Luca, and Daniel in producing the brilliant notes which finish the song so spectacularly. Neo had a beautiful voice, warm and friendly just like his personality. It matched Tadghs’ warm voice and they blended seamlessly. While Oliver M’s voice was like honey, Tadgh and Neo have voices like mead. Warm, velvety, and sweet. (pardon the use of alcohol in reference to childrens’ voices) I hope Neo gets more opportunities to come.

Poor Little Jesus was my favorite song of the night. The choir’s blended and innocent sound is so well suited for this tightly harmonizing piece. It reminds me of ‘Mother of God’ in its reverent, soft harmonies smoothly interwoven. But now, imagine the personal and sweet touch of Isaac’s “Hymn to Mary” mixed in. It’s intoxicating. It feels like you are living in the sound for just a few moments. Luca’s voice is capable of ageless vocalises but also can sound young and gentle. Here his solo leans into the latter. The choir at its current iteration showcases its unique ability to encapsulate the splendor and grandeur contained within the simple sound of a young child's’ voice.

Exultate had a new flute solo which I really enjoyed. The song was otherwise upbeat as usual.

America The Beautiful is not usually my favorite song, but the audience around me ate it up. It was a strong finish to the concert.

During the signings, I asked Olver WR which was his favorite solo, and he replied “the second one”. I think that meant “In Paradisum”, but I now am blanking on what his first solo was. Does anyone have a clue which was his first?

As a final comment, Victor looked quite shy when I congratulated him on his performance in ‘Wonderful World’. It seemed so out of character for such a confident and swaggerish young lad. I was happy that he enjoyed my compliment.

[bamboo]

Part 2!

During the intermission, myself and other fans took some time to marvel Luca’s new solo on Voca Me as well as appreciate the quality of the choir. I don’t believe I have ever heard it performed so well, even compared to the DC recording. Then, the orchestra started to tune and Dominik walked on the stage by himself to start How Great Thou Art.

I suppose you mean 'How Shall I Sing That Majesty' instead of 'How Great Thou Art'?

Exultate had a new flute solo which I really enjoyed. The song was otherwise upbeat as usual.

There was no soloist for this?

Thanks for both part 1 & part 2! Totally enjoyed reading them

[Surpinto]

Thank you, henrylonghorn, for your descriptive review; it was fun to read!

I agree with you that Tadhg sang “in a distinctly emotional and intricate voice, including occasional vibratos” on Salve Regina. That solo is not as easy as it may seem at first glance because it requires holding a few notes for extended periods of time (particularly the song’s closing) and this is a genuine challenge even for adult singers. As this particular song is one of my top Libera favorites, I have been puzzled as to why this piece, which Robert Prizeman had as the very first track on the Hope album, never made it into a concert. If Robert thought so highly of it, why not showcase it live, right? I think we may possible have our answer: it’s a slow song that requires the choir and soloist to hold notes for extended periods of time and for young kids that is a true challenge. I think that Tadhg did well considering these challenges and sang with real feeling as you say. So of course it is unlikely to sound as good as on a polished recording where choir and soloist can do multiple takes in a relaxed studio away from a live audience. Sorry for the long commentary but I have been thinking about that song and its performance quite a bit since the concert and your review gave me an opening to make a remark on the subject.

Rather, the amicable Dominik emerged from the darkness himself to deliver the first notes of Veni Creator Spiritus. Gradually, seven of his companions joined him, and the audience was quickly captivated by the haunting voices that reverberated off the stone domes and walls.

I love that description and it was a great opener!

Thanks again for your review, henrylonghorn, I wish we had run into each other at the concert but somehow we must have missed one another.

I noticed that his voice really blossomed on the highest notes, as in the first half of the concert. His pitch was pinpoint accurate in his high range.

I agree about Dominik, he’s a master in that upper range and sings with real feeling.

For such a large, majestic piece of music, his solo brought out the calmness and gentleness of the song, like he was in the eye of a storm. When the whole choir joined in, the largeness and force of the full song hit, nicely contrasting the solo beforehand. The choir showcased its ability to project sound while maintaining blend and technical quality.

I love your descriptions – that one and the one about rustling leaves, how do you do it?! Please send me a DM with your poetic skills as an attachment please And, yes, “Angele Dei” was overall done very well by the choir and is always a highlight. Your poetic descriptions are right on the money. The parts with minimal accompaniment are the most moving because the voices seem to speak directly to you somehow and you feel the song musically and emotionally.

You are also so very right about Victor. My new nickname for him, aside from the one the fans have already given him (Mr. Smiley due to his personality and his first solo on Smile in Ely 2018) is “Mr. Reliable” because his singing is exactly that. As you may recall, some of us speculated the following day as to whether he and Daniel have perfect pitch.

I did not notice the volume changes for the lower voices during the show, that may be a function of where I was sitting or just my inability to hear such things with my untrained ear; yet I do recall thinking that the lower voices did a very nice job during the concert and it may be the result of me hearing them better this time than in the past because of the increase in the volume on their microphones as you say.

During the signings, I asked Olver WR which was his favorite solo, and he replied “the second one”. I think that meant “In Paradisum”, but I now am blanking on what his first solo was. Does anyone have a clue which was his first?

I am not sure what he meant. Perhaps he had a descant part somewhere that we missed? As you may recall, he was doing descants last year so perhaps he is referring to that? Or maybe he meant the second solo part of “In Paradisum” itself? I am speculating here and am not entirely sure.

Anyway, I enjoyed part 2 of your review very much. Thank you!

[Surpinto]

Well, if there was one thing I would have done differently, I would have made sure to get a seat that was more directly under the central dome of the Cathedral of St. Louis. I wasn't way back, but I was kind of on the edge of the dome. I spoke to a couple people who have been involved in the Cathedral's choir, and they said that when music is coming from the sanctuary, you really need to be in just the right zone for optimal acoustics. As a result, some of the music sounded like it was coming "from a distance." I think the Cathedral of St. Paul has a broader zone where the acoustics are optimal. Also, they were farther back from the audience in the St. Louis Cathedral, which is probably another factor.

From what I have heard informally from other fans immediately following the concert in St Louis this year was that they experienced some technical problems again in that space just as they did in 2017; though I am curious if it wasn’t better this time around than then? I am not saying this to criticize Libera’s sound people – they do an incredible job – but it seems that the basilica is just such an acoustically challenging nightmare that it vexes even Libera’s crew.

As I was not in St Louis this year, I can say that in a head-to-head between 2017 St Louis and 2019 Saint Paul, that Saint Paul wins the acoustic challenge.

If you need proof that I was actually present at the concert, I did speak with the two Libera enthusiasts handling the merchandise at the entrance before the concert. And, I came back a second time to ask about Eimear's recent twitter post. If they totally forgot about me, then you'll just have to take my word for it.

Why would we doubt your presence? Your saying so is good enough for us! Anyway, thank you kindly for your review and commentary, it sounds like despite a few problems Libera managed to pull off a good show. It is so inspiring and moving to see and hear them perform; and even for those of us who can’t make (a) particular concert(s) just reading about how the choristers manage to put on a great show despite jetlag, long days on the road, etc is touching.

Exultate had a new flute solo which I really enjoyed. The song was otherwise upbeat as usual.

There was no soloist for this?

No, I was surprised too. But if I am not mistaken, I think that in the last few years we have seen far more solos on songs than in the past. I get the impression that more songs were sung as a whole choir and duets were used more as well. I may be wrong about that, but others have also remarked about the varied and larger number of solos and soloists… so that can’t be solely my imagination (pun intended).

With that said, the solo may have been removed so as to not overtax the boys who do solos on tour as there is only so much they can handle. Plus, it gets to showcase the choir as a whole without focusing on any one chorister.

[gingerthedog1]

Part 2!

During the intermission, myself and other fans took some time to marvel Luca’s new solo on Voca Me as well as appreciate the quality of the choir. I don’t believe I have ever heard it performed so well, even compared to the DC recording. Then, the orchestra started to tune and Dominik walked on the stage by himself to start How Great Thou Art.

I suppose you mean 'How Shall I Sing That Majesty' instead of 'How Great Thou Art'?

Oh of course, thank you for the correction.

Exultate had a new flute solo which I really enjoyed. The song was otherwise upbeat as usual.

There was no soloist for this?

Again, thanks for the catch. Sam did the solo in the middle with "We hear a distant music". It was well done but I think Sam's voice suits more meditative and grounded music, versus this somewhat suspended and quick song.

Apologies for the mistakes, I finished writing this very late at night.

[gingerthedog1]

No, I was surprised too. But if I am not mistaken, I think that in the last few years we have seen far more solos on songs than in the past. I get the impression that more songs were sung as a whole choir and duets were used more as well. I may be wrong about that, but others have also remarked about the varied and larger number of solos and soloists… so that can’t be solely my imagination (pun intended).

With that said, the solo may have been removed so as to not overtax the boys who do solos on tour as there is only so much they can handle. Plus, it gets to showcase the choir as a whole without focusing on any one chorister.

As far as I remember, Sam did indeed have a solo in the middle of the song. But maybe I am misremembering! Perhaps someone else who was there might be able to clarify ?