My review of the Japanese album, "Christmas With Libera". Since I don't have the physical album yet, I'm not sure if there are soloists named for
Do You Hear What I Hear. If so, I'm going to add them later.
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The Angel Gabriel
Arr.: Robert Prizeman
Solo: Victor Wiggin
That's such a wonderful song I've been loving for a long time, and I'm super-glad about them singing it. It begins with a slowly increasing intro whose sound makes me feel warmer and warmer. It then features a recorder, which here is considered as a typical Christmas instrument. Victor sings it with a very mature voice - how well he has developed! - and flawlessly. The arrangement places the typical Libera shine on the song, for which I adore Libera, and couldn't be any more beautiful. The ending puts sort of a symmetry to the song by a decreasing sound and with the Gloria that had already started it.
In Dulci Jubilo
Arr.: Robert Prizeman
This is the quickest version of their three recordings of the song. The slower one of Ireland made it more festive, a calm gladness, while this quicker now is more dancing for joy. I still like the Armagh one better, but both have their own charms. The arrangement, which I love, as it perfectly sets the joyful lyrics to music, in general has remained the same as in previous versions. Armagh's interlude after the third verse has been enriched by playful garlands of alto choir vocalises. And I really like the deeper voices which form a solid fundament to this lively song.
In past times, I had found the song boring, as it's sung at each and every Christmas in each and every church over here, and never knew I'd be able to enjoy it, until I heard Libera's version at the Christmas concert 2016. Perhaps this song is one of their best examples to show how Libera can turn songs thought to be nothing into something attractive and dear.
Do You Hear What I Hear
Arr.: Robert Prizeman
Solos: Div.
Yes, this belongs to my most favourite Christmas songs ever! Robert seems to have read my mind in terms of the arrangement, as this is the one of which I've always dreamt someone should write it: with lots of voices echoing each other and echoing the echoes.
And wow - the beginning! The different solo voices, first individually and getting all time to fade, then more and more mingling in those echoes, the interesting harmonies added by the instruments and - fabulous! - the deep voices with a somehow Gregorian touch. It's a mesmerizing beginning I get lost in most pleasantly to then wake up to the clear, straight song. Every verse is arranged differently and it's very nice that different solo instruments as well as voices are featured in the echo line. I personally enjoy the extended use of the clarinet. The last verse is really majestic, fitting the words "Said the king to the people everywhere" and puts a triumphant ending to the so nicely developing lyrics. Magic song!
P.S. On the international CD version
Do You Hear What I Hear will be the finalising one; appropriate for a great album.
In the Bleak Midwinter
Arr.: Robert Prizeman
Solo: Dominik Clarke
A Libera song which makes me just sink down inside and surrender! So much beauty, so very much peace and hope! Robert wrote an exceptional arrangement here.
In the first verse, there's that impressive bourdon underlying the unison singing, which, both combined, so excellently picture the earth frozen in darkness, while there are already a few notes by the flute like foreshadowing the light to come. But then the numb ice begins to melt, movement and diverse harmonies join to bring in more and more colour and the initial repellent status dissolves to warm friendliness. The choir has a wonderfully streaming sound here, and in the third verse there is a marvelous choral setting. Very well sung! This is followed by Dominik's sweet solo verse, matching the song's gentleness. A very rounded song in itself and deeply touching my soul.
Since Brighton and Moscow, I've been longing for hearing it again and I know exactly why!
Ding Dong Merrily on High
Arr.: Sam Coates
Okay. Okay, okay.
I admit that I find this song not as bad now that I've heard it in full, which delivers the evidence that we should never judge prematurely. At least not negatively. At least not if it's about Libera!
In fact, I must say that, despite disliking the song itself for being just too "ding-dong", Sam Coates has written a very creative arrangement, varying from verse to verse, which distinctly enhances its value for me. I even have to more or less correct my snippet fear that the song would sound too hasty. - Still, I don't like the beginning. The second verse with the bass rhythm however is funny. Well, the whole song made me laugh, and at the end where they got into a ding dong* loop I was laughing so hard, I had to repeat this bit just for the purpose of counting.
The song sounds as if Libera just made a break from work to simply have some fun. It will sure not become a favourite of mine, but when I need some laughter this may be my go-to song, and I mean that positively.
(Oh no, now I've looked up how I could translate "laughter that frees the soul" and the dictionary says "liberating"! Ok then, let's call it a
Liberating song!
*[Edit: In fact, it was a gloria loop. This song has me dizzy. ]
Sing Lullaby (The Infant King)
Arr.: Robert Prizeman
Solo: Dominik Clarke
An enchanting song in 3/4 time which pictures the child being rocked to sleep. Libera's singing is so gentle here, it's amazing how sensitively these boys are able to sing. Sam Coates's arrangement is full of intimate care. But don't let yourself be deceived: The beauty fogs the horrible suffering for Jesus to come which the lyrics refer to. What does this extreme contrasting tell us? Maybe: You will go through pain, but we already see the light behind it and at the end, there will be eternal life and undestructable peace, which the last verse implies. Definitely a very interesting composition and reinforced by Libera's arrangement.
Dominik, I am at your feet for your solo on this! Your gracile voice fits the song in the best way, it sounds soft and secure, and your pronunciation technique is really good.
The song gives me the more goosebumps, the more it proceeds.
I Saw Three Ships
Arr.: Sam Coates
This is a fulminant piece of music, very well arranged by Sam Coates with a rousing rhythmic structure. I was lucky enough to experience it live twice and it's just so full of energy, already at the beginning, but still growing along the song until its end. While its effect can definitely be felt better in the live situation. Yet, I'm glad that now a recording exists.
Walking in the Air
Arr.: Robert Prizeman
Solo: Luca Brugnoli
How can I express how happy I am about Robert's decision to equip this song, which is very dear to me, with a new arrangement and give it new life. I had worked myself through many interpretations, but either the soloist sounds too childish or the tempo is too slow or ... or ... This one is the solution now in every regard I had longed for.
The intro features an echo effect by layering choir voices, building up tension, before Luca's brightly shining voice enters. Luca ... I don't have words enough to praise his outstanding voice, his splendid technique! This is a gem of a solo! He is an absolutely amazing singer, and his voice is already that of a much older boy, where others are at their peak. Here, he is 9! His voice, containing a very nice slight vibrato, sounds so natural, flows so self-evidently and is so homogeneous that it makes the listener (wrongly) believe that there's nothing easier in the world than singing. Precious!
The arrangement has the choir sound really angelic, quite appropriate for a song close to Christmas time. The well-known instrumental interludes are now performed by the choir. Their wave-like sound reminds me of the sea and only now that they're vocal, I've got aware of that!
The intensifying effect happens through the choral voices. They play an essential role and thus equal the solo. Often it's here the solo, there the tutti, but here they complement each other to such a degree that one is just not thinkable without the other.
Once in Royal David's City
Arr.: Robert Prizeman
Solo: Victor Wiggin, Daniel White, Mathias Montoro
Victor starts off with the song alone, before Daniel and Mathias join him for a very charming trio. It's a relaxed arrangement and it's the simplicity which makes me profoundly enjoy the song. A moment of rest, that's this song - until towards the end the "Libera blossom" breaks through, finishing the song with soaring harmonies.
Carol of the Bells
Arr.: Robert Prizeman
Solo: Isaac London, Alex Montoro, Lucas Wood
We know this recording already from "Santa Will Find You" (2015) and "Libera at Christmas" (2016) with Isaac opening the song alone. As this song receives a review after every Christmas concert, only short now: Magnificent song; always, always mesmerizing me and listened to countless times. Nothing can keep me away from it any time of the year - I
love Libera's interpretation!
O Little Town of Bethlehem
Arr.: Robert Prizeman
Solo: Oliver Watt-Rodríguez
After the snippet I thought: One song has to rank at the lower end of the album and it will be this one. Yes, I still have no liking for the song, due to the harmonies in the verses' first part which will be responsible for skipping it, but Libera's arrangement rescues it in a way. In fact, I really like the prelude, and I'm glad to have Oliver's voice being recorded here. Although I find that he sounds even better live. Hopefully there will be another album with a main solo by Oliver once more and a song I like better.
Poor Little Jesus
Arr.: Sam Coates
Solo: Luca Brugnoli
A very elevating spiritual, sung a cappella, and radiating such calm through the masterful vocal score! Here again, we have that description of Jesus's predetermined way, but very differently set to music: It tells us more through the tune and the harmonies - I'm enthusiastic about the harmonies btw - and doesn't disguise it the way
Sing Lullaby does. I particularly like how Libera take all time needed to thoughtfully convey the song's meaning. The entire song expresses an undeviating hope that in the end all will turn out well. Very moving.
We have got another crystal-clear solo by Luca here.
Noël Nouvelet
Arr.: Sam Coates
Solo: Victor Wiggin, Oliver Watt-Rodríguez, Neo Parson
It's this song which caught my interest the most, when the snippets were out. I'm very much inclined to this kind of music, mysterious as well as pretty in tune and harmonies, transferring me to long past times. I also like music being performed in their original languages, and so I'm happy about Victor's beginning in French.
Super-diverse arrangement with something new all the time. The many changes might even be too much for some listeners, but so far I like it, as it is just such a pleasant sound throughout. Very nice trio by Victor, Oliver and Neo, the use of bells, one of my favourite percussion instruments, the variety in harmonies - there are plenty of parts in the song that call my attention. One very personal thing: I'd have preferred them to take the tempo a few bpm more slowly. That would have underlined the song's elegance even better. Anyway, it does evoke the idea of a courtly dance.
The song will be a frequent listen here and I'm looking forward to hearing it live in a Christmas concert!
Silent Night
Arr.: Robert Prizeman
Solo: Luca Brugnoli, Benedict Bywater, Dominik Clarke, Mathias Montoro, Victor Wiggin
This is likely to be the most famous Christmas song of the world with all kinds of interpretations; over here frequently sung at the end of Christmas services with the electric light extinguished and singing by candlelight only. Robert's a cappella arrangement of this totally peaceful song is just stunning, performed by just five boys, which feels like a reduction to the essential in life and furthermore emphasises the extraordinary beauty of the song's melody. The boys are simply amazing here! Another jewel on this album.
What Child is This
Arr.: Robert Prizeman
Solo: Daniel White, Benedict Bywater
Usually I prefer "Greensleeves", but, oh Libera, what do you do all the time? Taken again! What a very charming arrangement this is, it leans strongly on the Armagh arrangement, but differs in some aspects like the small, but refined new choral and instrumental transitions to the second verse and later to the flute interlude before the third verse. A safe solo, then duet by Daniel and Benedicts starts the song. The music increases in movement according to the lyrics: I can literally picture the three kings to first wonder carefully, almost whispering to not disturb, then get aware, in awe, of the hope and happiness just brought to the world, after this unpack their gifts and jubilate, and finally withdraw to let the child get back to rest.
Wexford Carol
Arr.: Robert Prizeman
Solo: Tadhg Fitzgerald
There exist pieces of music which simply feel like caressing and this song belongs to them. No wonder that it's my favourite Christmas song since I met it through Libera.
The arrangement has remained almost the same as in the earlier versions, while I do miss the mystic flute prelude of Armagh which prepares me so well for the song's meditative character, supported by the swaying harmonies. The whole Libera interpretation unfailingly places me into a mood of calm contentment. I once wrote that
Wexford Carol is a synonym for "atmosphere" and yes, this just is it, this will never change. The Gaelic language attracts me in particular, and although I have long hopelessly fallen for Isaac's interpretation of this song and the successor is forced to step into big shoes, Tadhg has delivered a fine solo here.
Oh dear, I have really troubles to break away from this song now to proceed with the review.
Gaudete
Arr.: Robert Prizeman
Sam Collins
And here we have the recorded solo by Sam I've been waiting for! His voice is clear and shining, I'm very pleased. I like it that the instrumental accompaniment during his part was shifted more to the foreground in this recording, which gives it more attention and for me has almost a character of a partnership between solo voice and instruments. The arrangement is very much the same as earlier, while there have always been some minor modifications and this time that strongly syncopated part was prolonged. Again, I love the deep voices in this song.
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The album is a highly well-balanced mix of songs once again with very creative arrangements, and so there can be no doubt that there wil be something to greatly enjoy for everyone. Its overall sound is resplendent, very pleasant to listen to. The title is somewhat boring though; I'd have liked the suggestion of one of the boys interviewed in Garden Grove: "Christmas around the World", as there are songs from America, Austria, England, France, Germany, Ireland, Spain, Ukraine, possibly Finland/Sweden (
Gaudete).
This time, a special shoutout goes to Sam Coates: I am very happy with his arrangements on this CD! They show another dimensions, compared to his previous ones, which were all so flourishing, but now there appears more than ever his capability of fully serving a song's inner meaning.
Congratulation to Libera and all others involved on this album! Libera has remained entirely true to themselves, and that makes me more than glad.
