Performance: Morriston Orpheus Choir

Aotea Centre

Review: Tara Werner

There must be something in the Welsh air that creates good singers. The sound of massed Welsh voices can bring emotion to the most hardened All Black. Alwyn Humphreys, the musical director of the Morriston Orpheus Choir, made sure that everyone knew the state of play in his humorous introductions in the Sunday night concert.

"I've been told that New Zealand is full of saucers," he said. "It's because all the cups are across in Australia."

The conductor makes all the musical arrangements for the 92-strong group, and has been widely recognised for this ability, broadening the choir's repertoire so they are equally at home singing Welsh melodies, spirituals, sacred music or operatic choruses.

So there were no surprises on the programme, a mix of well-known hymns and Welsh tunes obviously beloved of many expats in the audience. As they did on their previous visit 18 months ago, the singers impressed with their clarity of diction and control of dynamics.

This was especially evident in numbers such as Balm in Gilead and the wonderfully nostalgic Myfanwy. Not to forget the highly sentimental Little Welsh Home and We'll Keep a Welcome.

The two female soloists, mezzo-soprano Sian Wigley Williams and soprano Camilla Rhian Roberts, were a nice balance to the male voices, singing popular arias from the Tales of Hoffman, La Wally, Carmen and The Merry Widow.

Given the moving content of much of the choir's repertoire, it was a wonder that most people in the Aotea Centre weren't in tears. Yet the atmosphere was rather dull, influenced by some rather crass lighting and the poor acoustics.

Luckily, the friendliness of Humphreys and the warmth of choir members quickly overcame these factors. Passion counts, after all, and it was the emotion behind the singing that counted, making this a pleasant concert full of Welsh charm.