The Watsons make May memorable

Michael Reckord, Gleaner Writer

The month of May began auspiciously for lovers of art and music. It was still morning on May 1 when the island's newest chorale and two well-established opera singers came together to present a concert which was to earn them a standing ovation.

That reward came at the end of May Memories, the name of the musical morning featuring the 18-strong Brandenburg Singers, its founder and conductor, Dr Curtis Watson (bass baritone), Pauline Forrest-Watson (soprano) and, on piano, the superb accompanist, Archie Dunkley.

The too-small audience gathered in the intimate, 100-year-old Institute of Jamaica lecture hall, downtown Kingston, knew they were in for top-quality music even before the concert began. That was because the National Anthem, the prelude to the scheduled programme, was sung by the Brandenburg Singers (and the conductor, Dr Watson) with tremendous feeling, nuance and power.

"Awesome," was the word used to describe the singing by Ruby Martin, when she went onstage to welcome the performers and patrons. Martin is the chairman of the Ward Theatre Foundation, which - under the distinguished patronage of the Ambassador of Spain, Celsa Nuno, and Alex Crowther - produced the concert.

Clearly enjoying himself, Dr Watson introduced the first two items on the programme, Handel's Largo (O Saviour, Friend) from his opera Xerxes, and Verdi's Pace, Pace, Mio Dio (Peace, Peace Grant Me, Lord) from The Force of Destiny.

Dr Watson then introduced his wife, Pauline, who was to perform the arias.

Appropriately attired in a red dress, Forrest-Watson not only sang euphoniously but with great sensitivity and, especially in her second aria, dramatic feeling.

Those who did not speak Italian understood the reason for the drama: Verdi's opera is about the accidental killing by the character of her father, hence her plea to God.

Forrest-Watson made three more appearances during the concert, the next time being with Dr Watson to sing the enchanting The Kindly Voice of Mother Nature (Mozart). Not surprisingly, the two, both Jamaican/Russian trained lecturers in music, sang beautifully together and applause and cheers greeted the final note of the song.

Later, the two again delighted the audience with a listed duet, Bess You is My Woman Now from Gershwin's folk opera Porgy and Bess. The reception was so positive that the patrons got "brawta," in the form of an unscheduled duet, You Don't Send Me Flowers Anymore.

Forrest-Watson showed her versatility in her second solo appearance. She was as amusing with the comic aria I Want to Sing in Opera as she had been dramatic earlier.

Apart from his duets with his wife, Dr Watson also performed several solos. When he promised the audiences "an extraordinarily power programme" he might have been referring only to the music; and certainly the composers already mentioned - to which should be added the illustrious Ludwig van Beethoven - are among the greatest.

Reason for the concert's success

But the concert's success was due in no small way to the three different roles Dr Watson assumed for the morning - singer, compère and conductor. His passionately delivered, sonorous solos were Why do the Nations Rage (from Handel's Messiah), Allesandro Stradella' Pieta Signore (Have Mercy Lord), Stephen Adams' The Holy City, Victor Young's When I Fall in Love and Gershwin's I Got Plenty O Nutten, from Porgy and Bess.

Dr Watson put as much energy into his singing as he put into his conducting of the Brandenburg Singers, an ensemble which first performed before the public in December at the Temple of Light Centre for Spiritual Living in St Andrew.

According to the programme, the members were hand picked by Dr Watson from several singing groups and choirs.

The promise the singers showed in the National Anthem was more than fulfilled with their main item, Hallelujah from Beethoven's Mount of Olives.

Asked about the name he chose for the chorale, Dr Watson said that 'Brandenburg'' (which is Germany) reflected the fact that much of the choir's music would be European. At the same time, he said, its range would be "from folk to opera."

On December 12, 2012, Ward Theatre will be 100 years old. Its doors have been closed, according to Mrs Martin, since August 2007, and it is deteriorating steadily and visibly, but the Ward Theatre Foundation refuses to give up. While admitting that reconstruction and refurbishing costs will be in the region of US$20-25 million, treasurer Vivian Crawford told The Gleaner that Government has plans to begin fixing the theatre "in stages" for 2012.

"There is hope," he said. "This concert is part of the restoration effort."