THE PLACE OF THE STARS. I gamirodi !khaes. Conductor: John Woodland. Cast: Members of VOX Choral Ensemble. Venue: The McClean Dome of the SA Astronomical Observatory at the winter solstice.
BEVERLEY BROMMERT reviews
Uniquely sublime in an unconventional venue, this choral concert from VOX under John Woodland’s astute direction recently celebrated the winter solstice of 2025 in memorable fashion. Thirty or so vocalists delivered four works in impeccable ensemble singing, their various registers harmoniously combining under the great dome of the South African Astronomical Observatory.
Optimally served by the unusual acoustics, and performing invisibly behind their audience, the singers’ apparently disembodied voices acquired a powerfully spiritual pull as they tackled a programme featuring modern works as well as those of the 18th century.
Why the McClean Dome when there is no shortage of sympathetic venues in the Mother City? one wonders. As this concert coincided with the turning point of the year’s seasons, a “place of the stars” could not have been a more appropriate setting, a place where celestial resonances unite scientific curiosity and a timeless spirituality common to cultures both ancient and modern, (hence the Koi San translation of “place of stars” in the title: I gamirodi !khaes.)
Given its acoustic quality, the Dome is a tempting option for vocal performance at any time of year …
Atmospheric place of stars
Elegantly arranged in parenthetic structure, the programme began and ended with works from 20th century Norwegian composers: Ola Gjello’s soulful “The Spheres” opened the performance, and Knut Nystedt brought it to a graceful conclusion with his reimagined Bach, incomparable master of choral Baroque.
Between these, an enchanting Te Deum by William Herschel (1738 – 1822) was paired with a mass by Martin Watt (1970-), Missa Desolata, composed in 2022 and presented on this occasion for its world première.
Watt’s Mass derives dramatic weight from contrasts between dark and luminous movements in its four-part composition; a lyrical sense of completion comes with the softly breathed “Domine, dona eis requiem …” in the concluding Lachrymosa.
Nystedt’s piece elicited the most theatrical vocal feat of the concert, as Bach’s noble “Komm, süsser Tod!” was sung twice, the first time as the composer had penned it, the second time leaving it to the will and ability of individual singers to sustain notes as long as they could. The result was impressive.
Mid-winter cloud and rain had the final say in preventing the première of this event from rounding off with star-gazing: the intention was for audience members to prolong the sense of upliftment through visual communion with the heavens on the longest night of the year.
Further repeats of The Place of the Stars (five performances were offered over two evenings) may have fared better. Be that as it may, there is a strong possibility that this could presage regular appearances by VOX in this atmospheric place of the stars. One certainly hopes so.
WS
