In what turned out to be an inspired break from the tradition of past years, the Melbourne Bach Choir and Orchestra performed its Easter Concert three weeks post-Easter and in the place where the choir had made its debut performance almost two decades previously.

All Saints’ Anglican Church in East St Kilda was the venue from which the MBC first launched in a performance of the St Matthew Passion back in 2006. This year’s program offered an alternative to Bach’s Passions in the form of his oratorios (Easter and Ascension) in a joyful celebration of the work of the master and a couple of his major fans.

Rick Prakhoff, Andrew Goodwin and Chrisopher Hillier. Photo © Elizabeth Quinn

Under the direction of Rick Prakhoff, the concert opener was the Litany of Loreto, a “joyous little work” according to Prakhoff by the 15-year-old Mozart who, at that tender age, was more an admirer of CPE Bach than of his father. Perfectly suited to the line-up of soloists, the Litany showcased individual voices and provided opportunities to create the kind of heavenly four-part harmonies absent from the Passions.

The voices of MBC perennials Sally-Anne Russell (mezzo), Andrew Goodwin (tenor) and Christopher Hillier (baritone), together with newcomer soprano Olivia Cranwell, combined to make this simultaneously reverential and joyful work a delightful program opener.

The design of the All Saints’ Church required all four soloists to sit a mere two pews in front of the audience. When it was their turn to sing, they stood up, turned around and faced the front row at eye level and from a distance of no more than two metres. It was a special (and slightly disconcerting) experience for those in the front pews and a credit to the acoustics of a space that created no distortion of sound at such close proximity.

Photo © Elizabeth Quinn

Then followed the Easter Oratorio with its air of celebration after the privations of Lent, a work said to be held in high esteem by its composer.

Heralded by a fanfare of trumpets, the festive spirit was contagious and evident in the exchange of smiles between the soloists swaying gently in their seats between solos, and the sight of talented timpanist Arwen Johnston rising and falling on the balls of her feet, at one with the music.

Oboist Stephanie Dixon, first violinist Jaso Sasaki and flautist Lisa-Marie Amos should all be singled out for their sensitive handling of their solo sections, as should Rosanne Hunt on the cello continuo.

The orchestra demonstrated remarkable cohesion for a ‘moveable feast’ of musicians assembled by Prakhoff. The ever-reliable Calvin Bowman on organ continuo overcame a couple of pre-concert false starts – not of his making – to provide a seamless contribution on the day.

The choir was split into two groups, one on either side of the orchestra, each group made up of representatives of all four singing parts. It’s likely this was due to practical considerations dictated by the size of the choir and the orchestra and the layout of the church.

If there was any degree of difficulty for individual choristers as a result of being separated from half of their confreres, it didn’t show. Nor did the fact they only had two pre-performance rehearsals in the church to acclimatise to it. The result of the unorthodox staging was a wraparound stereo effect that contributed to the richness of the sound.

After a short interval, Mendelsohnn’s solemn Jesu meine Freude – set in E minor as a tribute to Bach’s earlier version – provided a contrast to the two previous works with its gravitas and unresolved ending.

The program ended with Bach’s Ascension Oratorio, a return to the triumphant trumpets and moments of quiet reflection before a resurgence of joy and uplift in mood.

Prakhoff’s programming was an admirable decision of timing and artistic curating, providing an alternative to the Passions and giving exposure to two lesser performed Bach works set twixt Easter and Ascension Days.

Augmented with works by Mozart and Mendelssohn that tied in with the Bach theme and suited soloists, orchestra and choir, it was a thoughtfully chosen program delightfully rendered for those of us still hankering to extend the feel-good vibes of Easter.