Belgian Boys’ Choir captivates audience

The 50 members of the Belgian Boys’ Choir, formally known as the Schola Cantorum Cantate Domino, were of assorted sizes and ages, these ranging from 12 to 25. Some appeared much younger than 12; a few looked quite adult but sounded like boy sopranos in their solos.

Under 71-year old Fr. Michael Ghijs, who has conducted the choir for 45 years, high school boys from St. Martin’s Institute in Aalst, Brussels, have come and gone, establishing a solid tradition and reputation for the choir.

The program, drawn from an obviously extensive repertoire, consisted of two motets by Maurice Duruble, three Vespers by Rach-maninoff, the contemporary, polyphonic Mass in G Minor by V. Williams (1968), excerpts from Mendelssohn’s oratorio Elijah.

Followed Beethoven's Ode to Joy (the European Union’s anthem) and his Chorale Fantasy, excerpts from Orff’s Carmina Burana, and folk songs from Europe and Russia in their respective languages.

The young, fresh voices thundered in fortissimos or were muted in exquisite pianissimos while reflecting a variety of nuances, and cohesively responding to the sensitive cueing of Fr. Ghijs. Fine tonal balances were especially noted in Williams’ Mass. The versatile choir skillfully interpreted the fascinating – indeed electrifying – Carmina Burana which, singing praises of "nature, love, the tavern and free life" marvelously demonstrated extremes of vocal ranges as well as dramatic contrasts of sound. The work is not concerned with melody or harmony but with rhythm, and the choir’s robust, rhthmic declamation of repeated words reached exciting peaks of intensity.

Vigor and vibrancy characterized the songs. Throughout the challenging program, assisting artist Maarten Van Ingelgem provided excellent piano accompaniment. Thunderous applause broke out as the choir sang two Tagalog songs; in a third the choir, as goodwill ambassadors, graciously performed with Jolina Magdangal, chosen singer of GMA Ka Puso Foundation for whose benefit the concert was.

Bartholomeus de Kegel sang three romantic pieces by F. Tosti to Van Ingelgem’s piano accompaniment: Aprile (springtime), Ideale (unattainable love) and Non Tamo Piu (lost love). The eminent tenor manipulated his light, clear, mellifluous voice in movingly expressive manner. His control of dynamics was superb; with refined artistry, he shifted from loud to long sustained pianissimo lines while evoking deep emotions – the joy or anguish of loving.

Lusty applause and a standing ovation elicited from the choir Handel’s Alleluia as rousing encore, with De Kegel participating. Volley upon volley of sound seemed to suggest the heavens opening. Handel was once described as "unrivalled for his ability to create a sense of occasion, inducing that adrenalin rush which makes us feel actually present at the event itself". We did feel we were at the London concert for King George II except that unlike him, we did not rise to our feet tremendous though the Alleluia was.

Ambassador Christian Tanghe welcomed the CCP audience. First Secretary Jeroen vegeylen helped with arrangements. Mel Tiangco represented Ka Puso.