By CB Adams
The Bach Society of Saint Louis’ Christmas Candlelight Concert begins where it should: in sound. Before tradition, before ritual, before the familiar glow of candles, there is the resonance of Powell Hall answering the first choral surge. The room settles, the ear sharpens and the evening declares its priorities. This is a concert shaped by listening and care.
At the center stands John Rutter’s “Magnificat,” performed here with buoyancy, clarity and an instinctive sense of proportion. Rutter’s gift for celebration can be mistaken for easy charm, yet this music asks for discipline to keep its radiance airborne. Under A. Dennis Sparger’s steady direction, the Bach Society Chorus and Orchestra delivered exactly that: rhythmic lift without haste, color without excess and an architectural arc that allowed the work’s alternating exuberance and inwardness to register fully.
The score’s brilliance, especially in its percussion and brass writing, came across with vivid impact, while strings and winds shaped the quieter pages with warmth and transparency. Sparger paced the work so contrasts felt earned rather than imposed, allowing the music to breathe while sustaining forward motion. The result trusted Rutter’s craftsmanship and resisted the temptation to oversell it.
At the heart of the performance was soprano Emily Birsan, whose singing gave the “Magnificat” its center of gravity. Her voice is luminous and richly focused, marked by fine control and a natural inwardness that draws the hall closer rather than pushing sound outward. In reflective passages, her phrasing and breath transformed large-scale celebration into something intimate and human-scaled.
Even in moments of radiance, there was restraint and poise, a sense that clarity mattered more than display. It was singing of interpretive authority, grounded in trust and simplicity.
The remainder of the program functioned as a thoughtful frame rather than a diversion. Seasonal carols and arrangements extended the sound world established by the “Magnificat,” offering familiarity refreshed through color and rhythmic lift.
A Mozart excerpt, the “Laudamus Te” from the Mass in C minor, provided a moment of classical contrast and further showcased Birsan’s musical intelligence, reinforcing her versatility without disrupting the evening’s flow.
The concert closed with Craig Courtney’s “A Musicological Journey Through the 12 Days of Christmas,” a piece that wears its learning lightly. Each verse refracts the familiar tune through a different stylistic lens, creating a playful tour of musical history that rewards both ear and intellect. The Bach Society dispatched it with precision and obvious delight, capturing its wit and rhythmic verve. As a finale, it proved supremely engaging, leaving the audience buoyed rather than merely amused.
Candlelight, procession and communal song emerged organically from the musical argument rather than sitting beside it. Back in Powell Hall, the fit felt restored. This concert endures not because it repeats itself, but because it listens, to the music, to the room and to the moment.
The Bach Society of Saint Louis’ Christmas Candlelight Concert was performed at Powell Hall on December 23.
CB Adams is an award-winning fiction writer and photographer based in the Greater St. Louis area. A former music/arts editor and feature writer for the St. Louis Globe-Democrat, his non-fiction has been published in local, regional and national publications. His literary short stories have been published in more than a dozen literary journals and his fine art photography has been exhibited in more than 40 galley shows nationwide. Adams is the recipient of the Missouri Arts Council’s highest writing awards: the Writers’ Biennial and Missouri Writing!. The Riverfront Times named him, “St. Louis’ Most Under-Appreciated Writer” in 1996.
