Review: Spirit of Christmas at Philharmonic Hall ****1/2

Just on the off chance you haven’t noticed, we’re currently in the midst of ‘the most wonderful time of the year’, complete with much jingle belling and good cheer.

Certainly that’s the case at Philharmonic Hall, where the Spirit of Christmas concerts are underway under the gaze of a couple of twinkly conical firs flanking the festive stage.

And there’s also plenty of good cheer on stage itself this year, exemplified by Roderick Williams in his dual role as both presenter and guest performer – the genial British baritone should be made available on prescription!

When he’s not charming the audience with his animated interludes and all round bonhomie, he also has a cheery rapport with Matthew Hamilton, the Phil’s new(ish) Director of Choirs and Singing, who is conducting his first Spirit of Christmas.

Meanwhile on the opening night Hamilton's predecessor Ian Tracey, who hasn’t missed a Philharmonic Christmas concert since he was in short trousers, seemed happy to hand over the reins and enjoy listening, glass of fizz in hand, from a box.

Speaking during the evening, Hamilton described how impressed he was as an audience member last year by the range and diversity of carols and Christmas-themed pieces which make up a Spirit of Christmas programme, and how keen he was to continue that tradition now he wielded the baton.

Thus, during the evening we had whip-quick Tchaikovsky (Trepak from The Nutcracker), Leroy Anderson’s bell-infused Sleigh Ride – and Jingle Bells for good measure, the obligatory nod towards ‘Mr Christmas’ John Rutter – here the Star Carol performed by Royal Liverpool Philharmonic Choir and the Youth Choir with lovely clarity and a focus on finishing every word with real crispness, audience carols, newly arranged works and some more unusual songs.

Above: The Spirit of Christmas as Liverpool's Philharmonic Hall. Top: Baritone and presenter Roddy Williams with Matthew Hamilton and the RLPO. Photos by Gary William Smith.

The choirs, buoyed by the RLPO brass, brought glistening, warm vocal sound to Randol Alan Bass’s Gloria, a triumphant, celebratory piece originally composed for the Mormon Tabernacle Choir, and also to Darius Battiwalla’s arrangement of O Holy Night.

Battiwalla was nestled behind the piano on stage, and the democratic nature of the Phil’s Christmas concerts meant he wasn’t the only performer to see their music on the programme.

Principal horn Tim Jackson had arranged a mash up of Have Yourself a Merry Little Christmas, complete with a soulful, creamy solo from Williams, and Santa Claus is Coming to Town, while Hamilton had composed a new arrangement of In Dulce Jubilo full of frills and furbelows, and Roddy Williams brought his own voice (figuratively and literally) to an arrangement of his favourite carol, Silent Night.

Above: Getting in the Christmas spirit complete with tinsel and hats. Photo by Cathy Roberts.

A mention too for (conductor) Tim Redmond’s Slinky Malinki’s Christmas Crackers, a rollercoaster musical tale of a mischievous cat and a Christmas tree with Williams reciting Lynley Dodd’s words with vigour, and for Philharmonic trumpeter Fabio Brum who accompanied the baritone in The Trumpet Shall Sound from Messiah.

The Youth Choir impressed in a trio of carols, including Master of the King’s Music Errollyn Williams’ enchanting, Elfmanesque, Peace on Earth, and Noel – a percussive delight sung in the Congolese Kituba dialect, complete with complex clapping choreography, and all of them sung from memory.

If there was a weak spot in the programme it was the inclusion of the rather dull, dirge-like Away in the Manger as an audience carol.

And mentioning audience participation, it would be useful for Williams as presenter to signpost a little more clearly what is happening in the programme – particularly when the audience is required to join in.

Still, join in they did, including the final, rousing O Come, All Ye Faithful. Final in the programme that is….don’t be too quick to dash out into that December night.