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# REVIEW: Resound Male Voices @ Chapel Royal
- URL: https://www.scenemag.co.uk/review-resound-male-voices-chapel-royal/
- Published: 2024-07-02T14:00:53.000Z
- Updated: 2024-07-02T12:44:43.000Z
- Description: Resound Male Voices are not a ‘belt it out, blood and guts’ choir, so the 18th century intimacy of Brighton’s Chapel Royal was a perfect sounding board for their summer concert of delights and surprises. Under the direction of Sam Barton, the 11-strong group were just that – strong – with lots of so
- Author: Brian Butler
- Tags: Arts, LGBTQ Choirs, Reviews, Resound Male Voices, review

**Resound Male Voices** are not a ‘belt it out, blood and guts’ choir, so the 18th century intimacy of Brighton’s **Chapel Royal** was a perfect sounding board for their summer concert of delights and surprises.

Under the direction of **Sam Barton,** the 11-strong group were just that – strong – with lots of soloists and groups to show off individual talents.

*There Is A Meeting* was not your usual rumbustious Gospel song, but an a capella dream – happy clappy in the best of ways.

*Serenade Italienne* belied its title – being in French – a tranquil ballad where the rolling waves of the sea were heard in **Claire Williams’** delightful piano accompaniment- and she was a striking support throughout the night.

Here was Resound’s hallmark – beautifully controlled tonal quality and rich harmonies.

*Dulaman* was an unaccompanied Irish love song, apparently about seaweed, with a confident solo by **Keri Davies** and a choral response from the ensemble, reminiscent of medieval chant.

*The Blower’s Daughter* was a haunting lament, with soloist J**J Thurlow-Criss** accompanied by violin, guitar and cello. “Life goes easy on me,” was the theme and well delivered.

Paul Simon’s *Only Living Boy In New York* was laid back, tuneful and sung on the chapel steps as a quartet.

Brightonian **Basil Richmond’s** new composition *Valediction* was fiendishly challenging – we got two of its eight movements and I really want to hear more of it. It’s a tribute to those who died with HIV/AIDS. Its harmonies and emotional rendition were movingly performed. *Visions and Dreams* had a lush, rich quality – again fiendishly hard to sing, but filling the chapel with a glorious sound as a finale to part one.

In part two, the choir seemed on more confident ground and it had a lighter touch to it.

*Fire* was an explosive, exciting rollercoaster ride of sounds and rhythms, including shrieks, shouts and belly laughs – a brilliant piece that showed how virtuosic and adventurous this group can be.

![](https://www.scenemag.co.uk/content/images/wp-content/uploads/2024/07/4392169600400.jpg)

*Drill Ye Tarriers Drill* was a typical workmen’s rhythmic song of the American railroad, but with Irish roots – as they joyfully sang ”work all day for the sugar in your tay.”

Choir director Sam Barton sang with confidence and scary high notes in the solo of Benjamin Britten’s *Nocturne*.

**David Farrer** and **Barry Heywood** gave us Paul McCartney’s sad lovelorn *For No-One*, and did it with skill and the right level of melancholy.

Then it was fun time with a boisterous Britney song *Toxic*, full of drama – and they wore her mantle well.

There was more melancholy in *Homeward Bound* and *End Of The World* – depicting the sad happiness of an affair that’s over.

And an encore of course – the very very silly *Seaside Rendezvous* – complete with kazoos and a Swanee whistle.

And we were done – all too soon, but a great concert by this adventurous group who never disappoint.

Learn more about [Resound Male Voices](https://www.resoundmalevoices.org/?ref=scenemag.co.uk) here:

![](https://www.scenemag.co.uk/content/images/wp-content/uploads/2024/07/439216988_43377694934600.jpg)