Reviews

from The News-Times (CT)

NEW CANAAN --The asymmetrically sloped ceiling of the First Presbyterian Church was the only thing in any way off balance at the Pro Arte Singers (PAS) recital last Sunday afternoon. All 40 members of PAS were pitch perfect as music director Arthur Sjögren maximized their formidable vocal strength.

Sjögren's meticulous attention to arrangement details accented smaller combinations of the sections integrated with the full chorus, and spotlighted the soloists masterfully. This worked particularly effectively in the opening "Mass in C, Op. 169" by Joseph Rheinberger, creating a multitude of melodious effects, especially with bassist John Rose.

They recombined for the world première of a composition PAS had commissioned, "Ira Agni (The wrath of the lamb)" by Michael Waldenby (b. 1953). With stern text taken from the Book of Revelations, the work had stentorian warnings, plummeting the depths of sacred scripture.

Mezzo-soprano Juliana Anderson's strong voice imparted the exhortation with an even-handed delivery. Much of the piece was sung a cappella with the piano providing a charged accompaniment in a few places.

Four beautiful key related songs in "Quartette, Op. 92" by Johannes Brahms (1833 -- 1897) shifted the focus upward to the stars in heaven, celebrating the soothing power of nightfall. With a wonderful blending of all voices, they sang in the original German with incredible clarity in their delivery.

Following intermission, they presented a selection of songs from South Africa, both modern and traditional. PAS was joined by three percussionists with drums, rain stick, and other primitive instruments that transported everyone across the oceans to the Dark Continent.

A few of the modern works displayed European influences, and the vocalists had the proper accents and intonations to sound righteously authentic. The lower voices in the elegiac hymn "Pie Jesu" by Hendrik Hofmeyr (b. 1957) had a special resonance for the tender hymn.

"Horizons" by Peter van Dijk (b. 1953) was a powerfully moving morality tale of false hope, dashed at the bitter end. In addition to the choral dichotomy telling the tale of betrayal, they created sublime primal vocal effects, replicating mysterious jungle sounds.

"Because of you" by Neil van der Watt (b. 1962) acknowledged the pain of apartheid and the opportunity for healing. It felt like a chrysalis of emerging hope as the sopranos expanded beyond the sanctuary into the outer aisles.

They closed with an uplifting medley of traditional Zulu songs, whistling, dancing, and going rather native in the elegantly executed finale. For an encore, they had the audience rhythmically clapping as they paraded out chanting "Siyahamba (We are marching in the light of God)."

from The Advocate and Greenwich (CT) Time

In time of war a choral concert, with music that often embodies sacred texts, beautifully sung by an expert choir of accomplished skills, is a great balm to the human heart. Arthur Sjögren, founder and conductor of the Pro Arte Singers, a 27-voice professional chorus, provided such profound solace at the opening concert of their season last Sunday afternoon at the First Presbyterian Church of Stamford.

The concert, marking Pro Arte’s 29^th season, was dedicated to the memory of those fallen in the Sept. 11 terror attacks and to the restorative work of AmeriCares. The group was augmented in the larger works by the Festival Chorus and Orchestra. The first half of the concert was sung a cappella with a pure blend of rich choral sound.

Sjögren conducted with full appreciation of Mendelssohn's quiet, inner spirit and his singers, augmented by the Festival Chorus, sang with a sonorous blend and dead-center intonation that was close to absolute perfection. ... it was deeply touching, profound music impeccably performed.

Barber's vocal setting of his Adagio It provided one of the most moving moments of the program with musical expression of a timeless style that rises to an impassioned climax, directed with unforced intensity by a masterful conductor....

After the applause, Sjögren addressed his audience with the simple message, “May this music be an instrument of peace,” and then led his chorus in a heartfelt performance of “America the Beautiful.” The audience, joining hands throughout the church, sang with them the second chorus. There was not a dry eye anywhere. —John Sweeney

Pro Arte Concert—A Night to Remember; from The Advocate and Greenwich (CT) Time

The Pro Arte Singers, a 26-voice ensemble of professional singers directed by Arthur Sjögren, gave a concert of superior quality Saturday Night at the Norwalk Concert Hall.The concert was an inspiring musical experience, satisfying to the most discriminating connoisseurs of choral singing and performed in a way no other ensemble in the area can match.

Singing music of treacherous transparency in which any vocal blemish destroys its effect, the ensemble maintained a beautiful blend of sound, impeccable precision of ensemble, total reliability of intonation in even the most challenging a capella works, and a graceful, unforced style that never forgot that musical expression was the first goal of performance.

Sjögren is an accomplished choral conductor with disciplined skills and a sophisticated sense of style. His program reflected his wide tastes.

Weelke's madrigals were sung side by side without a break, beautifully performed, carefully nuanced, their naked textures without instrumental accompaniment profoundly expressing the painful quandaries of peoples trying to live their separate lives together.

It was poignant music, very challenging to perform with complex harmonies and passing tones that did not always resolve. Was Sjögren giving musical expression to the current problems of the Middle East and the deep emotional conflicts they reflect? —John Sweeney

Men's Chorus in Fine Voice, from the Danbury (CT) News-Times

In fine voice, the gentlemen offered a program ranging from the Middle Ages to the 1960s, but concentrating on the glories of Elizabethan England. The six male altos sang with a "white" sound, the eight basses with a sound like mahogany. Sjögren led lithely, using rounded and shapely gestures and a way of releasing the sound with a fan of his fingers.

Franz Biebl's "Ave Maria" (1964), a hit these days due to its ripe, insinuating measures came first. It could not be bettered. —Frank Merkling

Pro Arte Begins 27th Season, from The New York Times

As the Pro Arte Singers enter their 27th season, Connecticut's only fully professional chorus can thank its founding artistic director, Arthur Sjögren, for its flourishing life and longevity.

"The system allows us to perfom works that simply couldn't be done with your average choir," said Mr. Sjögren, "on our opening program, for instance, we're performing an exciting but very complex piece by Lars John Werle, a Swedish composer who set a series of poems by e.e. cummings. It's scored for baritone solo, solo octet and eight-part chorus, and requires the singers to maintain pitch throughout its 15 unaccompanied minutes. Only a professional choir could handle something like that." — Robert Sherman

Pro Arte Groups Lush but Restrained in Concert , from The Advocate and Greenwich (CT) Time

The Pro Arte Singers presented a varied program of mostly sacred and introspective music to celebrate their 25th anniversary recently at the Norwalk Concert Hall. Joined by the Pro Arte Festival Chorus and accompanied by the Pro Arte Orchestra, conductor Arthur Sjögren led his combined ensemble with the great attention to detail that ultimately sets his group apart.

Performing a capella, the combined choruses provided a lush, full sound with exceptional German diction. Section by section and overall, the Pro Arte ensemble is beautifully balanced, with only a slight tendency toward steeliness in the soprano section.

Maestro Sjögren's group is always very well prepared, is secure in its entrances and customarily uses dynamic conventions to very good effect. — Carol Patterson

Lovely Sound of Pro Arte Singers, from The Advocate and Greenwich (CT) Time

Throughout this presentation, the sectional blend was excellent, very smooth and generally uniform, with the warm sound again enhanced by admirable diction. The Festival Orchestra proved to be a delight, small enough to blend with the Pro Arte Singers, yet powerful enough to carry their part beautifully and expressively.

Maestro Arthur Sjögren led the ensemble with deftness, sensitivity and assiduous attention to the dynamic particulars of the mostly French program. The musicality of the expanded group was a testament to the attention to detail.

The lush sound of the chorus in Fauré's Cantique, interwoven with expressive accompaniment, resounded sumptuously throughout the sanctuary, floating seamlessly over the audience, expressing the sentiments of the text of this beautiful composition. The sectional blend in this expanded group was excellent, very smooth and uniform, and the warm sound was enhanced by admirable diction.

In his "Mountain Nights," the sopranos and altos broke out within their sections to perform this a capella piece in a "surround sound" configuration around the audience. The deep, rich alto sound was particularly pleasing, and the overall delivery of the interesting harmonic dissonances was very effective.

A truly lovely rendering of Fauré's "Requiem" concluded the day's offerings, with orchestra and voices blending resplendently in this emotionally charged and ingenious composition.

Special mention must be made of the organ and its tremendous contribution, as well as the achingly lovely violin in the "Sanctus." Ellen Sisson's "Pie Jesu" was lovely, and well in keeping with the almost straight-toned, boy-choir sound that Sjögren consistently asks of his performers. — Carol Patterson