Last weekend I had the privilege of being invited to what was the 10th, well, birthday celebrations for Kantos chamber choir. Except in one of those weird turnabouts that I’ve never quite understood where in offices those whose birthday it is brings cake in for those whose birthday it is not, we guests were the recipients of a gift. A 60 minute performance as beautiful as the spellbinding backdrop that was the Manchester Monastery in Gorton.

I know. I’m starting off with what may come across as bordering on a sugary sweet, gushing platitude but reader it’s true.

And whilst it could be down to the effects of a week of living under tropical conditions where every tram ride left me feeling like a tomato in a greenhouse, I stand by my turn of phrase. And now also the weird tram/tomato one. Ok, maybe a little delirium may have crept in, but I stand by it all.

And, to quote Uncle Bryn, I’ll tell you for why.

Although first a little context…

Kantos are a Manchester-based vocal ensemble, who first came to my attention in the chorus of English National Opera’s first Manchester production, the powerful Angel’s Bone.

To celebrate a decade of performing, Kantos joined together with the choirs from the Royal Northern College of Music and University of Manchester to form a 60-strong ensemble for last weekend’s programme, introduced and conducted by Creative Director, Ellie Slorach.

Co-founder and Company Director, Claire Shercliff, says:

Hope on Earth is a real celebration of Kantos’ first decade, including reflecting on where it all began and honouring the music communities that helped shape us. Collaborating with the chamber choirs of the University of Manchester and the RNCM feels especially meaningful, as both of our co-founders studied at these institutions, alongside many of the professional singers who have been part of Kantos’ evolution over the years.

Hope on Earth, as the tagline says, was indeed a concert of ‘songs of protest, change and hope. A wonderfully curated programme that felt eclectic, meaningful and moving.

I was going to say that the opening performance of Aaron Copland’s In the Beginning (the story of creation) surely set the tone, but not so much in the literal sense in that that each song and performance brought in a different genre, style, energy, choral composition, but certainly in the sense of the beauty and talent which flowed through the programme, as we were taken on a journey which begins with creation, onto existential questioning (Marvin Gaye arr. Rollo Dilworth, What’s Going On), before moving into Meredith Monk’s Earth Seen from Above , where we found ourselves in the centre of overlapping harmonies resulting in a wall of sound which frankly enveloped you, ironic given the preface of the song as we take the ultimate step back.

Requiring no introduction, Blowin’ in the Wind (Bob Dylan, arr. Liv Muir) continues that unease and interrogation of life. As the programme moved through stages of peace on earth (Arnold Schoenberg’s Friede auf Erden), hope and determination (Sam Cooke arr. Charley Perry – A Change is Gonna Come), an ode to the importance of faith (Thomas Tallis, Spem in alium) and ending with appreciation and gratitude which had me a little moist around the eyes (Thiele & Weiss arr. What a Wonderful World), there was a real energy as voices and choirs intermingled, walked amongst us, filling the space with the most wonderful acoustics as they took us along with them.

We were told at the beginning that in order to identify who belonged to which choir, a colour-coded ribbon system would be in place. A little bonus game for me was to seek these out and appreciate the different approaches to how said ribbons were hosted. And as I recall this, I spend a few seconds pondering my own existential question – the last time my mum tied a ribbon in my hair, I wonder how we would have both felt knowing it was indeed the last time…(I’m writing this is in 31c temperatures which may or may not be contributing to nature of my musings…).

To perform in such surroundings is to be at risk of being overshadowed. Who knew it would be possible to elevate them further by providing an auditory accompaniment befitting of the visual spectacle that is the monastery, in what felt was truly a special evening for everyone involved.

And cynics? look away now… but every so often you’ll have an experience such as this which, even if only momentarily, takes you away from the what’s going on of it all, and into the space of what a wonderful world it can be (even if sometimes it’s a bit sticky).

To read more about Kantos Chamber Choir, and discover what’s next as they enter into their 11th year, visit Kantos Chamber Choir

You can also read more about the songs included in in the programme notes here.

And because my words can only do so much heavy lifting in conveying what it is to experience Kantos (especially when I start bringing tomatoes and hairstyles from my childhood into the equation, I encourage you strongly to visit the link below:

https://www.facebook.com/share/r/1BS1D4GW89/?

Performance images : The AC Product.