University of South Dakota Chamber Singers: Out of the Ashes
Navona Records

Perhaps more than any of its other releases, this latest collection from the University of South Dakota Chamber Singers under David Holdhusen's direction traces a thoughtfully delineated arc designed for maximum emotional effect. In keeping with a cover and title referencing the phoenix rising from the ashes to experience rebirth, the release acknowledges the gut-wrenching impact of the global pandemic, environmental catastrophe, and racial conflict. Rather than succumb to despair, however, the recording holds to the conviction that collective will can help overcome such daunting challenges.

Like the USD Chamber Singers' earlier releases, Out of the Ashes shows that the distance separating a university student body-derived vocal ensemble from a professional choir can be small indeed. A comparison study might determine that the latter sing with greater polish and finesse, but the enthusiasm the former brings to its performances is a considerable compensation. That the ensemble has been selected as a finalist for the American Prize in Choral Performance (college and university division) is easy to understand when its singing is so excellent. A particular strength of the release is its featuring of soloists, a move that gives the recording extra personality and allows individual singers to put their oft-soulful stamp on the material.

There's a strong gospel dimension running through the set, which dovetails with the album theme when such material offers solace in the face of struggle. Established choral settings such as Franz Biebl's comforting “Ave Maria,” Eric Whitacre's hushed “Sleep,” and Giovanni Pierluigi da Palestrina's reverential “Sicut Cervus” appear alongside new pieces, including ones by Carlos Cordero, Jacob Narverud, and others. The group is guided through its paces by Holdhusen except for “Sleep,” which is conducted by Elizabeth Whitehead.

After Michael John Trotta's “Dies Irae” introduces the release with lustrous voices singing about “the earth dissolving into embers” and other matters, Cordero's “Holding Our Breath” arrestingly evokes the fear, anguish, and uncertainty wrought by the pandemic and reminds us of the extent of the personal trauma we endured not all that long ago. Voices desperately ask “Can you breathe?” and “What happened?” as disorientation intensifies and horror sets in. The work intimates that all is not lost, however, in having the soothing tones of the choir take over to reinstate peace and calm. Referencing the human cost of the pandemic is the gospel lament “Death Came A-Knockin',” which, in Paul Rardin's arrangement, gives moving solo spotlights to Margaret Meierhenry, Shaelyn Laferty, and Shelby Wright. Patti Drennan's treatment of “Freedom Come for Me” similarly grants Katelyn Privett and Adam Lange glorious solo moments.

February 2024