Michael Reckord, Gleaner Writer

David Reid, producer/conductor (right), directs members of the Jamaica Musical Theatre Company during The Sounds of Music concert, at Alhambra Inn on Sunday. - Colin Hamilton/Freelance Photographer

The printed programme for Sunday's concert by the Jamaica Musical Theatre Company at Alhambra Inn indicated that the final item would be the hymn Ride on, King Jesus, arranged by Robert DeCormier.

That's how David Reid, the producer/conductor of the concert had planned it on paper. But something funny happened after the rendition, leaving him in a bit of a quandary, albeit a pleasant one. Soloists Miguel Thomas (tenor) and Lucette Cargill (soprano) and the rest of the 28-strong choir sang so well that there were cheers, applause and cries of "Encore!"

Much as he enjoyed the enthusiastic reception, Reid had not planned on that encore, he had rehearsed a different 'brawta' item - the magnificent Hallelujah Chorus from Handel's magnum opus, Messiah. It would complement the other excerpts from that oratorio which made up the first half of the programme.

So, what was Reid to do? Give the people what they asked for or what he had planned? Reid put it to the audience. Most wanted Ride on, King Jesus again.

Yours truly, while giving due respect to Handel and DeCormier, would have preferred a repeat of Blessed Assurance, sung to Reid's own dynamic arrangement. Coming halfway through Part 2 of the 24-item concert, the version, sung with power and sincerity by the full choir, was immensely moving.

Powerful climax

It begins with gentle humming and builds to a wonderful, powerful climax. Sunday was the first time I had heard it, but Reid said afterwards that the arrangement was about 10 years old, and he occasionally has the choirs he conducts perform it.

He went on to solve the problem facing him quite simply: He treated the audience to both Ride on, King Jesus and the Hallelujah Chorus. They elicited much applause, and later, a long line of well-wishers formed to congratulate Reid on the high quality of the concert. Titled My Redeemer Liveth, it focused on the sacred.

The arias from the Messiah by Marilyn MacDonald, How Beautiful Are The Feet, and Cargill, I Know That My Redeemer Liveth, and If God Be For Us, were particularly beautifully sung.

The full chorus, which showed early in the programme how much power it had, demonstrated in the final piece, Worthy is the Lamb - Amen, that it could also be flexible and handle four-part singing and a complex melody with aplomb.

Part 2 featured an eclectic mix of composers and arrangers. Some of the better-known ones were Rudyard Kipling and Roger Quilter's Non Nobis Domine, lustily sung by the chorus of men; Franz Schubert's The Lord is My Shepherd, sung by the chorus of ladies; Giuseppi Verdi's Praise Ye, from Attila, sung by the chorus of ladies; and Ave Maria, set to Mascagni's intermezzo from Cavalleria Rusticana, sung by Cargill, with Noel Peck (violin) and Dorothy Degazon (piano) accompanying her.

Another favourite was the patriotic song Battle Hymn of the Republic (Wilhousky). A stirring song, it was delivered with sincerity and conductor Reid invited the audience join in the final verse.

In his usual witty style, Doug Bennett, the announcer for the occasion, thanked the audience for attending and informed all that there were three more monthly concerts in the season. If they have half the quality of Sunday's show, they deserve much patronage.