Classical review: Scottish Chamber Orchestra - Edinburgh Queen’s Hall

JUST announced as one of two new associate artists for the Scottish Chamber Orchestra, Richard Egarr ably proved in a performance of Bach’s Christmas Oratorio why he’s someone they’d like to see more of.

He directed from the harpsichord, firing the first cantata with festive energy, and the overriding sense of musical satisfaction came from his complete integration of orchestra, chorus and soloists. Agile, but always together, the chorus had been exceptionally well prepared by chorus master Gregory Batsleer. Diction was spot on as the Christmas story unfolded through the SCO’s selection of four out of the total set of Bach’s six cantatas.

Orchestrally, the piece gave plentiful opportunity for the SCO to show off its woodwind, brass and timpani, all players on exceptionally fine form, especially the bright, crystal-clear trumpet of Peter Franks.

Exploring and exploiting every fine detail of the music, Egarr’s joyous yet sensitive direction never let go for a moment, even to the point of nudging his forces into line using his shoulders while both hands were busy on the keyboard.

Although at times the massed sound of all those on stage felt like it would take the Queen’s Hall roof off, the intimacy of the piece was beautifully set up by the quartet of soloists. Tenor Andrew Staples sung as if Bach had written specially for him, and mezzo Clare Wilkinson brought a light but lustrous beauty to her generous share of the arias.

Rating: ****