Donald Nally led The Crossing in the three concerts at two very different-sounding venues, The Institute for Advanced Studies in Princeton (Fri., 10/10/14 and Sat., 10/11), and The Church of the Holy Trinity on Rittenhouse Square in Philadelphia (Sun. 10/12). Combined with rehearsals at the Presbyterian Church of Chestnut Hill, those constitute a whirlwind tour through three very different acoustics. The Crossing’s talent and musicality include a big dose of flexibility.
I’ve said it before, but they amaze me. I cannot overstate Donald’s alertness to sound, and the choir’s intuition and suppleness. On top of gorgeous singing and the ability to make everything sound easy! I love being in their company; they love their music and their mission and each other so much. Such an encompassing joy to work with them.
David Patrick Stearns said that this “dauntingly high-concept new choral work” “indeed has a future,” and called The Consolation of Apollo my “most consistently high-level work, though one in which the composer of his breakthrough 2008 Vespers is barely recognizable.” (I’ll need to sift through that, as the works from then to now are all one line to me! But I may be in a poor position to say.) It “arises from a clear vision and sure purpose without losing any of its otherworldliness.” Read here his entire review of it and the work with which it was paired (indeed, the reason for Apollo‘s existence), David Lang’s The Little Match Girl Passion.