(Photo: The Cathedral Choral Society)

“Carmina Burana” at the Washington National Cathedral proved to be a delightful evening of music and entertainment, a mixture of striking contrasts: “Sacred and secular, high art and bawdy play; serene counterpoint and driving, choral dances.”

At the beginning of the program it was announced that Music Director Steven Fox was on paternity leave and that as a result Professor Edward Maclary had agreed to conduct this program.

To balance the irreverent 12th century texts, two other works with religious texts opened the program. “Musica Dei Donum Optimi” by Orlando di Lasso (1532-1594) opens with the text “Music, gift of the Highest God…” which was followed by “Three Latin Motets,” op. 38 by the English composer C.V. Stanford (1852-1924). This three-movement work which concludes with a quote from Psalm 119, “Happy are they that are upright in the way, who walk in the law of the Lord,” was beautifully sung and made me wonder why the composer is not better known.

The headliner composition, “Carmina Burana,” was presented in a two-piano version with percussion orchestration. The pianists were superb while the percussionists were so effective one wonders what else an orchestra could have accomplished. Amanda Sabelhouse (piano) and Joy Schreier (Assistant Conductor and Piano) provided a solid and polished performance in which one hardly noticed the several second delays in the Cathedral acoustics. Schreier also deserves credit as assistant conductor for her work in preparing the chorus.

Denny Villanueva, Chris DeChiara, Jason Niehoff, and John Patton, comprised the Percussion ensemble along with Timpanist William Richards. Together with the two pianos, they offered up an impressive and solid support to the Orff score and masterwork.

The Chorus, made up of an impressive ninety-eight singers together with sixteen youth from the Washington National Cathedral Choristers, a wonderful ensemble with excellent section singing. “Carmina Burana” is a work of fun, ribaldry, and entertainment. In that capacity the soloists, provided the contrasting sections which worked so well against the choral sections. Baritone Edmund Milly, on short notice sang well, demonstrating a solid voice with great range including in his use of mixed voice and falsetto. Colleen Daly demonstrated a connection to the text and play, with a fine and rich soprano voice, which carried her beautiful sound through the Cathedral. Everyone loved tenor Brian Giebler who provided a touch of humor in the play when he sang as the ‘roasted swan:’ “Once I lived on lakes…now I lie on a plate.”

Maestro Edward Maclary was energetic, animated and sensitive in providing the direction necessary for this ensemble which delivered a spirited and memorable evening concert.