GREENSBORO, NC – I know I say this every year, but the Bel Canto Company‘s holiday concert really kicks off my holiday. And this year was no exception. It’s hard to believe that last year’s holiday concert was as good as this one, which was superb; that’s how I remember almost every BCC holiday concert.
The evening began with the upbeat a cappella (unaccompanied) “Nova! Nova!” (News! News!) by Bob Chilcott (England, b. 1955). The syncopated trade-off of unison basso and treble chorus of about 20 singers culled from the 40-voice BCC provided a lean, energetic launch. The soloists were Tandy Brown, Jason Barrios, Brittany Kaehler, and Lauren Johnson.
“O Magnum Mysterium” (O Great Mystery) by Francis Poulenc (France, 1899-1963) (also sung a cappella) provided a perfect foil. This meditative, introspective piece was stunningly sung. BCC music director Welborn E. Young‘s fluid and gentle conducting brought out the beauty of this rich 20th century gem.
The syncopated and rhythmic “Riu, Riu, Chiu” (nonsense syllables) by Mateo Flecha (1481-1553, Iberian Peninsula) was enlivened by drumming (Steve McHugh) and unexpected handclaps from the singers. The combined choruses of the BCC and the 40-strong Gate City Voices provided a full, lively sound. Robin Hardman and Tandy Brown were the soloists.
Much of the evening was given over to familiar carols as explained by the program notes by Young. The classics, however, were often draped in new musical clothing. For example, the well-known and beloved “O Holy Night!,” in an arrangement by American Gary Fry (an Emmy award winning composer and arranger), was sung by the combined choirs. The work includes an ambitious piano accompaniment, solidly played by BCC accompanist, Christy Wisuthseriwong. The original tune is mostly evident throughout the five-minute piece in moods ranging from soft and tentative to the magnificent triumphant conclusion.
“In the Bleak Midwinter,” arranged by Abbie Betinis (American, b. 1980) is accompanied by harp (evocatively played by BCC member Alicia Reid) which “provided ‘bleak’ and ‘frosty’ images (Young’s description). Eby Buscher and Ashley Annette Ellin were the soloists in this gentle number.
Likewise, Mendelssohn’s classic “Hark the Herald Angels Sing,” as arranged by American Steven Landau, becomes an upbeat, syncopated a cappella winner with more subdued passages as well. (You can hear the BCC singing this in 2018 here.) The English carol “How Far Is It to Bethlehem,” arranged by BCC’s own William Snedden, becomes a gentle, moving lullaby, lovingly accompanied by Wisuthseriwong. The combined choirs were smoothly led by Assistant Conductor Brittany Kaehler. Tandy Brown and Alicia Reid were the soloists.
The first half concluded with Young explaining his encountering Handel’s Messiah as a young boy. He subsequently invited anyone who had sung the work to join the choir for this performance. Close to 50 people joined the BCC and GCV to make up a choir of more than 100 singing this rousing masterpiece!

The audience participates in the singing of the Messiah. Photo credit: Timothy Lindeman
Throughout the concert, the BCC was placed in the center of the large church, on the steps of the altar, while the conductor’s podium was in front of the central aisle on the floor. On either side of the BCC the Gate City Voices were seated, the piano on the right, harp and percussion on the left. The excellent acoustics of the sanctuary amplified the well-blended choral sound. However, when the soloists sang, they had to walk from the altar toward the audience and stand between the first two pews, which did not help the sound nor the lighting of the individuals.
After the intermission, the BCC and GCV sang “O Come All Ye Faithful” arranged by Dan Forrest (United States, b. 1978.) The “cinematic effect” (Young’s description) came from the range of dynamics and change of key, not to mention the brilliant piano part played by duo-pianists Christy Wisuthseriwong and Anne Lewis.
The a cappella “Infant Holy, Infant Lowly” by Paul Christiansen (US, 1914-97) was intimately presented by the BCC. “Rise Up, Shepherd, and Follow,” arranged by Nathaniel Berle Garris, featured soloists Tandy Brown and Lauren Smith; Young calls it a “restrained gospel song,” although there was definitely some wailing going on.
Conductor Kaehler led the combined choirs in “Brightest and Best” arranged by Shawn Kirchner with some really fast keyboard work expertly negotiated by Wisuthseriwong. Kaehler also spiritedly directed “Go Tell It on the Mountain” arranged by Donald McCullough with soloists Catherine Clifton, Kayla Sorenson, Lauren Smith, and Hilary Webb-Propst.
Kaehler also conducted the fun “Dance of the Sugar Plum Fairy” from Tchaikovsky’s The Nutcracker, arranged by PTX (short for the vocal ensemble Pentatonix) and Ben Bram. This work and the carol “In Dulci Jubilo” (In sweet rejoicing), arranged by Jetse Bremer (associated with the Netherlands Chamber Choir) have, according to Young, “a similar approach to the bass vocal writing.”
Young’s notes also point out that both “The Christmas Song,” arranged by Audrey Snyder, and “Have Yourself a Merry Little Christmas,” written by Hugh Martin and Ralph Blane and arranged by Jay Althouse, were written in the 1940s and have a “melancholy quality.” The former, written for Nat King Cole, was accompanied by drums (played with brushes) and piano. The latter, sung by Judy Garland in the movie Meet Me In Saint Louis, featured the combined choirs with drums and piano accompaniment and soloists Alicia Reid and Jordan Rosser.
The concert would not be complete without a performance of the traditional “Silent Night,” arranged by Craig Courtney. This gentle piece with the haunting piano accompaniment perfectly closed out an evening of wonderful music.