"Four Sacred Pieces" was an unmissable chance to see the Philharmonic Orchestra and Choir uprooted a few hundred yards down the road to the glorious Anglican Cathedral. A truly befitting choice for this selection of music - written to be performed in such a divine venue.
Liverpool's status as Capital of Culture, and the city's unfair ongoing battle to justify its crown, has never been better affirmed in my mind.
The anticipation was palpable as we claimed the best seats available; at the back. The eager 1,500 strong crowd had known it wise to pile in half an hour early.
The magnificence of the Cathedral towered above our lowly heads as we awaited The Philharmonic's "poster boy" principal conductor Vasily Petrenko. The Russian was met with an exceedingly warm reception as he took his place in front of the altar.
Fears the clarity of sound would be swallowed by the looming sandstone were quashed in an instant as Vaughan Williams' Fantasia on a Theme flooded the ears with a warmth of detail. The addition of a small string section situated on the bridge at the back of the Cathedral was a delight - responding as if in conversation with the main body of the orchestra.
Undeniably uplifting, the Royal Philharmonic Choir's breathtakingly beautiful voices took over as the captivated audience were regaled with Gorecki’s Totus Tuus.
Lost in the powerful repetition of "Maria", time appeared to stand still as we were lulled into a state of serenity. The choir embraced the reverberations in the Cathedral, stretching them to full, harmonious potential. I could not help but reflect that such a sublime rendition would be fit to present before the Virgin Mary herself.
Vasily Petrenko was exemplorary as he expertly guided the orchestra through Respighi’s Church Windows; the first three movements converted from their original piano format, and one original composition.
Although the piece was not actually inspired by a church window, the atmospheric darkened stained glass above us added another layer to the enjoyment of this challenging work.
Respighi's skill climaxed with a tumultuous crash of percussion, including an outstanding accompaniment from the Catherdral's organist, crescendo building to a booming, dramatic conclusion.
There was no better way to conclude the evening than Verdi's Four Sacred Pieces. Unaccompanied, the choir delivered Ave Maria with such aplomb it felt as fresh as the day it was written.
A spellbounding performance of "Stabat Mater" brought the Philharmonic Orchestra and Choir together in perfect union, the agony of the weeping mother at the foot of the cross conveyed with poignance. Followed by an exquisite performance "Laudi alla Vergine Maria" by the female voices of the choir was a joy to witness.
Culminating with the outstanding "Te Deum" Soprano Emma Morwood gave a sterling solo performance. The contemplative mood ebbed away as the evening drew to a close, bringing rapturous applause and a standing ovation from the less lazy members of the audience.
A Saturday night comprising of exquisite classical music, seated in such grand surroundings as the Anglican Cathedral, I confess, was a rare treat. Let me tell you, it certainly beats sitting indoors watching morons fail to prove they have "The X Factor".
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