By Anote Ajeluorou
When Lagos City Chorale (LCC) music group won three gold
medals at the second European International Choir Olympics held in Magdeburg,
Germany last month, not many knew about the feat. But performing before an
enthusiastic home audience last night at Agip Recital Hall, MUSON Centre,
Onikan, Lagos, was enough to silence many a doubting Thomas.
It was a celebratory
concert that had Chief Emeka Anyaoku as special guest of honour. Chief Earnest
Shonekan was among the dignitaries that graced the special celebratory concert.
The performances
showed how gifted the group, led by Sir. Emeka Nwokedi, was both in their
performance of African chorale repertoire and European classical music.
First, Tony Ajero
began to tell the story with the song, ‘Oni
dodo oni moi moi, accompanied with piano rendition, on how the group came
into being since 1998, with the group triumphing in Germany with the three gold
medals it recently won.
The choir, in their
resplendent outfit that stood them out, then filed in spotting Igbo traditional
pieces. A multi-coloured tunic over black trousers and tapering red and white
cap for the men, and white lace blouse over a sparkling wine-colonoured
wrapper, brown head tie and traditional neck beads completed the costume for
the women. Nwokedi introduced the first performance piece ‘Great is Thy
Faithfulness’ by William Runyan and said it was in gratitude to God for what
He’s done for the group over the years.
‘I was glad’ from
Psalm 122 came after it and they both followed the traditional church choir pattern
although great passion was invested in the rendition. Towards the end, ‘I was
glad’ steadily rose to a rousing crescendo that filled the hall. But it was
‘Halleluyah Praise ye the Lord’ by Louis Lewandowski that explored the full
range of the vocal power of Lagos City Chorale group. From its rising and falling
modulation of their voices, it transported the audience to a point of pure musical
enjoyment. The unique arrangement of the song allowed for multiple voices in
different cadences flowing in and out of the dominant note in such harmonic
blend.
From church choir
music, the group took on traditional tunes and ‘Ma Ndi na-ele anya Jehova’ composed by Sam Ojukwu was performed. It
started in a steady note through to the middle but towards the end when it got
to the point of ogejiye, dance was
added, a bodily motion in response to the moving song, and it became really
engaging. Also, the tonality of African languages deepened the song’s timbre
and greatly lent weight to it. A lady singer who moves forward to enhance the
rhythmic dance further accentuates this.
Then came ‘Alleluia Chim
lee’, another Igbo song, arranged by Chinedu Osinigwe and performed in easy
pace. But “Messiah Baba Mi’, a Yoruba
piece by Ayo Oluranti alternated in moods. First from the seemingly mournful,
subdued tone, and it eventually rose to a melodious, harmonious crescendo that
was extremely pleasing. A piece from Akwa Ibom ‘Ya Ikom Abasi’ on praising the Lord also came in church choir pace;
so, too, ‘Agidigba ka Chineke di’,
that spoke of the majesty of God.
But the ‘Rendition
by 2 Tenors’ rendered in Italian hit the audience like pleasurable musical thunder
bolts. The dexterity and command of the Italian tones by the duo of Fred Asuquo
and Benson Utomi were exceptional. In fact, their performance of ‘La donna e mobile’ by Giusseppe Verdi
was strongly reminiscent of the great Italian composer, the late Luciano
Pavarotti, singer of modern times in its depth of vocalisation, cadence of tone
and the seductive joy of music.
It signalled a
crossover temper from traditional church choir music to classical, European music.
The sheer theatrics of Utomi and Asuquo in giving life to the performance, the
give and take reciprocity of the lyrics greatly endeared it to the audience. So
much so that even when a majority of the audience didn’t understand a single
Italian in the song, the song claimed the biggest applause from it, as a reward
for the sheer performance skill of the duo. Indeed, the foreignness of the
language made it the more endearing and enchanting, as it seemed to transport
the audience to celestial places. The duo also showed talent in the second song
‘O sole mio – E di capua’, also by Verdi.
Ajero introduced Special
Guest of Honour for the evening Chief Anyaoku, as epitomising the excellence
and quality Nigeria ought to be as a country and connected it to the excellence
that Lagos City Chorale has brought in terms of laurels.
Anyaoku commended
the group for its quality and said: “I have been a fan of LCC. In this city,
there are not too many cultural events like this one for people to enjoy. We
are here to congratulate LCC for the tremendous achievements they have brought.
Every news accentuates the negative things about Nigeria; stories told about
Nigeria abroad are not always flattering. LCC’s story gratifies about Nigeria.
They have won many accolades all over the world. What better story can there be
about our country?
“LCC gave us pride
and honour. We congratulate them and Emeka for inspiring LCC since 1998. You
have achieved a great deal. I don’t know why government has not accorded LCC
the recognition it deserves. Those in authority should recognise how much glory
LCC has won for Nigeria abroad. They have been to the U.S., China flying the
colours of Nigeria with such pride. They have earned us admiration and pride
from all over the world.”
The former
Commonwealth Secretary-General also praised the group for sticking to traditional
Nigerian costume, saying: “Not just the music, but their attires are aspects I’m
sure those at the festival admired.” He also commended the duo of Utomi and
Asuquo for being more Italian than Italians in their rendition, describing them
as “black versions of Italians.”
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