Music / Romantics, SCUNA. At Wesley Uniting Church, May 23. Reviewed by IAN McLEAN.

The Australian National University Choral Society (SCUNA) was founded in 1963 and, throughout its proud history, has traditionally performed the masterpieces of the choral repertoire. 

For this, its first 2026 concert, the choir focused on what is known as the Romantic period which spans most of the 19^th century and features loved composers including Schubert, Brahms and Mendelssohn. These writers were inspired by emotion, passion, nature and nationalism – attributes evident in Romantics, a well-constructed, well-performed, interesting and enjoyable concert.

From the opening Schubert setting of The Lord is my Shepherd the choir presented choral singing of high vocal quality with fine balance, excellent dynamic control and contrast, pleasing clarity of diction and, importantly, due attention to the technical necessities of ensemble singing.

Music director Veronica Thwaites-Brown had prepared the choir particularly well and she conducted with precision, along with wonderful exuberance and joy. Her well-researched introductions to the “back stories” behind the compositions were fascinating and intriguing.

Her obvious love of the music was reinforced by performances from the three principal soloists. All featured in the major work, the Schubert Mass in G, with soprano Emma Griffiths most impressive as her voice soared into the rafters of the fine Wesley Church acoustic. Tenor and baritone, Leo Amadeus (what a great name!) and Aditya Chilukuri were equally impressive and sang with the passion demanded by Romantic composers.

Three Brahms folk songs led to the 10 member SCUNA Scholars singing three Clara Schumann songs. A seeming lack of some confidence resulted in some uneven balance in Evening Celebration in Venice and tonal quality lacked a certain “roundness”, but this quite new auditioned subset of SCUNA displayed excellent potential to become an accomplished a cappella asset to the SCUNA musical offering.

The choir was supported by the subtle, unobtrusive, but vital, Anthony Smith, providing piano and organ accompaniment as well as SCUNA Camerata, a 10-piece string and woodwind ensemble which added lush colour to the vocal contribution.

Just one weakness prevented this concert from featuring amongst the top echelon of performances. The Romantic period spoke of emotion and passion and those qualities were amply personified by the conductor and the soloists. Facial expression, obvious joy and love and understanding of text need to be shown by each and every chorister.

To become a complete “entertainment package” all choristers need to follow the example set by the music director and the soloists and sing, for example, The Lord is my Shepherd in an animated manner as though the text is truly meant rather than physically unemotionally, as though there could be doubt about the words being sung.

The audience needs to be convinced that “The Lord is my Shepherd” not just that He could or maybe might be.

With that addition to the current commendable musical package, SCUNA will become, as a Romantic-period composer might have said, a true tour de force.