After stepping into the Church of Holy Trinity, angelic intonations ensue. One can close the eyes and be almost moved to sleep by the relaxing music. The auspicious acoustics of the church help the amateur choir’s tone. The large, brown, dull room is brightened by stained glass windows of blue and green combined with the sonorousness of the New Amsterdam Singers. The seats appear to be filled, so it is a struggle to see from the back. The concert hall was quiet and serious as all ears perked up to listen. Little or no movement or sounds are made in this professional environment.

The first number is ruled by the choral voices, although the orchestra dominates much in later sections. “Fern Hill”was a poem by Dylan Thomas, composed by John Corigliano. Three main parts are marked by alluring rests or breaks. The dissonance is flabbergasting and yet works most of the time.

The second piece is broken up into four movements. The Prelude is carried out by the very talented orchestra, whose sounds flow more smoothly than those of the singers. The bassist strums minor staccato chords that are just the beginning of the powerful darkness revealed in the show. The steps are followed by teasing harp before the vocalists start. The best part has passed. Th second part is, “How still this quiet cornfield.” It starts a cappella with good dynamics and blend aiding the lack of strong harmony. It is completed by the instrumental lines, the clarinet tapering off into the next song. “Only a man harrowing clods”features a strong baritone. However, if he was the best of the group, how weak the rest must be. The solo leads into the final movement, “Lament.”Once again, it is the string players that shine brightest in this piece.

A fifteen minute intermission follows. The audience is invited to get food. Some get out and enjoy the sunny day, and others simply discuss their opinion of the show. Some people leave — they forget that another entirely different act is coming up. Announcements are made, bringing back many who had left. They discuss the achievement of the New Amsterdam Singers are highlighted. The music directors tell about their journey as a chorus. They thank everyone, as one should, before resuming the concert.

The long, deep oboe melody begins, “The Flight into Egypt.”The line is repeated by the entrance of another oboe, the English horn, and the bassoon. The creepy trotting is reminiscent of the work Peter and the Wolf. The soprano solo reaches for unattractive squeals. Dissonance is played out masterfully, and thrilling noises fill the room. Voices support outside instruments. The trombones strike sharply before a last choral fugato finishes the piece.

The final part of the performance is the most enduring. “Cantate Misericordium”demonstrates perfectly the sounds of the story as it moves along. A string quartet carries the haunting voices. A knock on the door in the story is accompanied by strong, crisp strokes of drums and other instruments. The piano and harp play during chilling choral breaks as anxiety arises in the lyrics. The eerie, recurrent melody leaves a spooky imprint. Dissonance and consonance clash are worked in beautifully.

A final, uplifting anthem has been chosen to close the show. The vocalists go unaccompanied in unison. The same strong baritone leads in the middle, until they come together in one final chord.

Overall, the orchestra is extolled further, even though it is believed that the singers should shine. The sopranos had a shrill sound. They should have been trained more. Still, the lyrics were poetic and unforgettable. The second act told Christian passages in song. Biblical stories were presented with antichrist sounds. The contrasting two acts showed diversity of the group. The overall effort and professionalism is still greatly appreciated. It inspires one to personally explore the pulchritude of journeys and elegies.