From Amadeus Singers, a Pitch-Perfect Mid-year Treat
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Okechukwu Uwaezuoke
Except for the intermission, which featured the talented young instrumentalists of the group, the Amadeus Singers’ Mid-Year Concert was a truly delightful, first-rate event, earning its place among the year’s finest musical experiences. Speaking of the choir’s skill and enthusiasm, they glistened with virtuosic brilliance that Sunday, July 18, evening, making an enduring impression on everyone in attendance.
The stately Jevinik Place Hall, nestled in Lagos’s affluent mainland neighbourhood of Ikeja GRA, provided a more suitable canvas for the choir’s artistry to flourish. In stark contrast to their earlier outing at the Grail Centre, where the choir struggled to find its voice in a cramped and restrictive space, the more spacious and acoustically inviting hall allowed their voices to soar, unfettered and unbridled. The venue’s elegance and grandeur seemed to inspire the choir, elevating their performance to new heights.
As the concert’s pièce de résistance, the Classical/English Anthems segment stole the spotlight, earning this reviewer’s accolades as the standout showstopper. With Drek Company Limited’s managing director and CEO, Chijioke Nwamara’s wit-laden introductory remarks, the concert began in earnest with the tender, lilting notes of Saint-Saëns’ “The Swan.” The soloist Edikan Abia’s recorder paired delightfully with Victor Eze’s piano accompaniment to set the tone for a delightful evening. This performance, subdued though it may have sounded at first, proclaimed the artists’ skill from the rooftops, ushering in a truly transcendent experience.
Since their last concert on December 3, dubbed the Christmas Concert, the Amadeus Singers seemed to have continued to mature like fine wine, and it showed. Their robust performance of the first two pieces, G.F. Handel’s “In the Name of the Most High” and James McGranahan’s “Song of the Soldier,” was a testament to their growth. Yet, it was the soloists who truly ignited the evening, with Lady Ugochi Osinigwe’s soprano voice shining like a beacon, leaving the audience in awe. Her voice—that voice!—soared, leaving an indelible mark on the audience. Kudos to Moses Adum, who brought Handel’s “Rejoice, O Judea” and “Arm, Arm Ye Brave” to life with his powerful vocals; Loveth Ohinma, who delivered a captivating rendition of Handel’s “Rejoice”; the duet of Nwaife Akhidenor and Erhieyovwe Obodo, who harmonised beautifully in Handel’s “O Lovely Peace”; and Chinonso Maduakolam, who charmed with his sweet interpretation of Leonard Bernstein and Stephen Sondheim’s “I Feel Pretty.” Each soloist brought their unique talent to the forefront, making the evening a truly unforgettable experience.
The Indigenous Anthems segment turned out to be a vibrant celebration of African heritage, with the choir members adorned in traditional attire to emphasise the theme. This high-energy performance was a true spectacle, seamlessly blending music and dance. What made it even more remarkable was the fact that the choir’s conductor, the talented Sir Dr. Chinedu N. Osinigwe, was also the composer of three of the performed pieces: the Yoruba song “E se nibi te bere,” the Hausa song “Kauna Allah tana da girma,” and the Igbo song “Mgb’udo dik’ osimiri.” These original compositions attest to his skill and creativity.
The other songs performed, including “Nyanabo” (a Kalabari song by Nelson Iworibo Thomas), “Oye” (a Ghanaian song by James Varrick Armaah, reportedly a favourite of President Nana Akufo-Addo and previously performed by the Chinese police band during his 2018 state visit to China), and “Yak, itoro Obong” (an Efik song by K.E. Oyadiran and M. K. Amissa), added to the concert’s infectious energy and entertainment value. Indeed, this segment was a joyous celebration of heritage, a dynamic fusion of song and dance that left the audience entranced.
it seethed with so much promise. There were, for instance, creditable performances such pieces – which even an accomplished pianist Chijioke Nwamara acknowledged as difficult – as Chopin’s “Nocturne No. 2” by Mmesoma Ozumba and Mozart’s “Sonata in A” by Chibuikem Nwamara. Then, Adaeze Nwamara’s recital of Erik Satie’s “Gymnopédie” smacked of heroism. The solos and duo performances by Daniel’s quartet (consisting of Amarachi, Elizabeth, Victor and Prince Daniel),Otito Okeakpu, Uzonna Okeakpu and Ekene Agina were no less impressive.
A few words about the intermission, which featured the juvenile instrumentalists, showcased a promising array of budding talents who delivered performances that were nothing short of remarkable for their level. Mmesoma Ozumba’s nuanced rendition of Chopin’s “Nocturne No. 2” and Chibuikem Nwamara’s deft interpretation of Mozart’s “Sonata in A” were particularly noteworthy, with even the accomplished pianist Chijioke Nwamara acknowledging the complexity of these pieces. Adaeze Nwamara’s bold performance of Erik Satie’s “Gymnopédie” was a testament to her skill and courage. The other performances by Daniel’s quartet (comprising Amarachi, Elizabeth, Victor, and Prince Daniel), Otito Okeakpu, Uzonna Okeakpu, and Ekene Agina were equally impressive, demonstrating a level of talent and dedication that belied their young age. As they took to the stage, their passion and enthusiasm were palpable, leaving not a few in the audience in awe of their skills.
The concert, themed “Fear Not, O Land,” a phrase inspired by Caleb Simper’s anthem performed in the first segment, according to Chijioke Nwamara, aimed to provide comfort and solace to the audience during these challenging times. This event was part of the Amadeus Arts Foundation’s initiatives, a non-profit organisation established on March 29, 2011, to promote and support the arts.
