A reflection on Immerse and Indulge by Luminata Voices
Sunday 22nd May 2022
By Takerei Komene
Photos by Eveline and Mike Jenkin
Seeing a concert named Immerse and Indulge, I was initially somewhat skeptical about what it could possibly offer. After all, shouldn’t all concerts offer some level of immersion? And with regards to indulgence, it’s certainly hard for me to feel indulgent when attending a concert in these times. I feel more like I have the grab at the chance to see a public performance - who knows when they might disappear again? Hopefully never, but no one could know for sure.
These thoughts followed me to my seat in St Matthew-in-the-City, as I took note of blankets and cushions strewn across the pews, candles lining the aisle, and vibrant colours lighting up the windows of the church. The vibes amongst the audience as we waited for the beginning of the concert were filled with electricity - for the choir’s second concert in its history, there was a lot to be expected.
All worries and questions flew from my mind as the first sounds of Luminata Voices flooded the church, emanating from the back of the church. Crisp, clear and filled with an undeniable joy, the singers opened the concert with the words, “Lux et spes” - light and hope. From there, the choir took us on an incredible journey from the Scotland to Norway, from the Hosannas of Palestrina, to the jolity and dance of Sarah Quartel, to the gentle and magical prayers of Dan Forrest.
Luminata Voices singers joyfully performing Acadian folk song Vichten, by Arthur Arsenault with text by Angèle Arsenault
Immerse and Indulge was further blessed with two collaborations. For When October Goes, a jazz classic by Barry Manilow with lyrics by Johnny Mercer, the singers were joined by Olivia Aspey-Gordon and Annabelle Harrison, who narrated part of the song through dance. Their skillful movements appeared as if they were directly translating what was being sung into a corporeal experience for the audience, and it made for a gripping first-hand experience of Manilow’s melancholy.
The second collaboration saw Luminata Voices joined by the Auckland String Group - a quartet comprised of Charmian Keay and Miyo Yoon on Violin, Martha Evans on Viola, and Rachel Wells on Cello. We saw members of the quartet appearing individually through the first half, with Keay providing interludes between various pieces, and Wells providing a soulful solo in Forrest’s Come to Me.
Auckland String Group, pianist Cathy Bennett, conductor Vanessa Kay, and the singers of Luminata Voices
The whole quartet then started off the second half of the concert with two incredibly emotive pieces of music - Chrysanthemums (Crisantemi) by Puccini, and Summa by Pärt. The contrast between Puccini’s mournful tribute and the glass-like simplicity of the Pärt made for a fantastic reestablishing of the concert, and the great love and care put into both these pieces was an amazing way to regain the immersive sound-world established in the first half.
From there, Luminata retook the stage alongside the Auckland String Group to perform two works by Gjeilo. This combination of voices and instruments made was an incredible force to behold, with both treating the music with delicacy, and an incredible synergy. Luminata concluded the concert on their own with a pensive and hopeful waiata centred around finding healing, comfort, and salvation, joined by kaikaranga, Amohia-Ngāwaiata Afeaki, and guitarist Deane Siakimotu.
The singers of Luminata Voices construct a vibrant and lively sound-world with seemingly little effort. The technical skill of the choir is clear - the blend of the ensemble is crisp, warm and inviting, with a distinct lack of any pretentious attitude towards their ability. The sound is unified and there is a strong sense of unity in their story-telling. It is clear that there is absolute trust between all involved. While their technical and interpretive skill is clear, what makes the choir so effective is that they recognise the incredibly special instrument that they comprise, and they take full pride and joy in their endeavours together.
Acknowledgements must be made to two people:
Firstly, to Collaborative Pianist, Cathy Bennett, whose sensitive and caring playing felt as if it contributed its own stunning and masterful voice to the concert,
And secondly, to Musical Director, Vanessa Kay, whose incredible mahi, careful, seasoned guidance and clear love for the music and for the ensemble made for an incredible concert experience.
A happy audience at St Matthew-in-the-City
As someone who struggles with quite a short attention span and a very busy brain, “immersion” is a word that I am very careful using when it comes to concerts. However I can very happily say that at this concert, I was more than immersed - at times, I was lost to the sound. And it was awesome.
