By Aidan Carney

There are nights when music doesn’t just fill the hall — it transforms it.

On April 12, Slee Hall at the University at Buffalo became more than a performance space; it became a vessel for beauty, precision and spiritual expression as Avanti Music, under the direction of Mason Cancilla, presented an exquisite program featuring the University at Buffalo Chamber Singers.

From the shimmering delicacy of British choral writing to the thunderous joy of Baroque celebration, the evening unfolded like a well-curated journey through sound and soul.

The program began with Gerald Finzi’s My Spirit Sang All Day, a brief but breathtaking work that set the tone for the evening’s emotional depth. Under the sensitive direction of Claudia Brown, the University at Buffalo Chamber Singers — a group of just nine voices — offered a performance of such warmth and resonance it was hard to believe their number. With a crystalline and grounded tone, their sound bloomed in the acoustics of Slee Hall, delivering Finzi’s lush harmonies with remarkable balance and blend. Each phrase lifted with purpose, every cadence resolved with care. It was a true joy to hear a small ensemble sing with such presence; they embodied the text’s sense of quiet ecstasy.

The Altar, a movement from Such Glorious Gifts by contemporary composer Roland Martin, followed this. Here, the orchestra joined the singers and the larger Avanti Singers to deliver a reverent and resonant piece. Martin’s setting, at once ethereal and robust, was performed with deep sensitivity to its sacred roots.

The ensemble’s dynamic control was especially commendable—the ebb and flow of the choral lines, buoyed by the orchestra’s warm textures, gave the piece a sense of timeless devotion. The connection between singers and players was fluid and attentive, allowing the modern harmonic language to bloom without ever overpowering the spiritual calm at the heart of the piece.

Then came the evening’s crowning jewel before intermission: Johann Sebastian Bach’s Cantata No. 79: Gott der Herr ist Sonn und Schild (God the Lord is Sun and Shield). Composed in 1725 for Reformation Day, this festive and challenging cantata is one of Bach’s most exuberant sacred works. It is a triumph of sacred joy and contrapuntal mastery, scored for SATB soloists and chorus, with horns, timpani, oboes, strings and continuo.

The ensemble approached it with precision, poise, and unmistakable reverence. From the triumphant opening chorus, filled with grand dotted rhythms and fanfares, to the delicate recitatives and arias, every movement was delivered with purpose and clarity.

The chorus handled Bach’s famously complex textures with remarkable unity. Their diction was crisp, their entrances clean and their energy sustained throughout — a feat in such a technically demanding work. The orchestra played with a Baroque sensibility that honored historical style while maintaining a fresh, contemporary energy.

The vocal soloists, however, were the heart of this performance. Soprano Emelia Bottoms brought elegance and a clear, ringing tone to her lines, balancing agility with lyricism. Alto Adwoa Amipah-Bonney sang with rich warmth and expressive phrasing, offering an emotional anchor in her solos. Bass Bob Bartolotta delivered his lines with gravitas and clarity, providing a strong foundation with each entry.

The highlight may have been the duet in the fifth movement between Bottoms and Bartolotta. Their voices blended seamlessly in a gentle yet expressive exchange, capturing the tender intimacy of the text with admirable musical chemistry.

After Intermission: Doga Vanwesenbeeck Dazzles in Mozart’s 22nd Piano Concerto

After intermission, the stage was set for what many in the audience will likely remember as the pinnacle of the evening: Wolfgang Amadeus Mozart’s Piano Concerto No. 22 in E-flat major, K. 482, performed by the astonishing Doga Vanwesenbeeck.

From his first entrance in the Allegro, Vanwesenbeeck exhibited a remarkable command of the keyboard — his playing was at once sparkling with classical clarity and infused with a mature, lyrical sensibility. Every passage felt deliberate, shaped with intent and taste. He navigated the intricate figuration and conversational interplay between piano and orchestra with grace, poise and an energy that was simply infectious.

Vanwesenbeeck’s precision was matched by his expressiveness. His phrasing in the Andante was profoundly moving, unfolding with a sense of intimacy that pulled the audience into Mozart’s more reflective world. Each note was carefully colored, and each pause was meaningful. In the final Rondo, his virtuosic brilliance came alive, dancing through the rapid passages with joyful exuberance and equal enthusiasm from the orchestra.

The Avanti players rose beautifully, supporting Vanwesenbeeck with sensitivity and fire. Their playing was nimble and transparent, never overwhelming the soloist, yet fully engaged in the dialogue. The winds, in particular, shone in this concerto — Mozart’s signature orchestration gave them ample moments to shine, and they responded with character and clarity. The string section maintained a buoyant lift, perfectly balancing lightness with depth.

What made this performance so special was not just the technical accomplishment—though that alone was astonishing — but the palpable joy. Vanwesenbeeck didn’t merely perform Mozart; he invited us into the world of music, filling each movement with vitality and warmth. It was a performance that didn’t ask for attention but earned it — note by radiant note.

A Fitting Finale and a Glimpse Ahead

As the final applause echoed through Slee Hall, there was a sense that something truly meaningful had just taken place — an evening where artistry, intellect and heart converged. Avanti Music once again proved its commitment to elevating emerging artists and timeless repertoire through thoughtful programming and exceptional musicianship.

For those eager to hear more, Avanti Music will present Schubert’s Mass in G on Saturday, June 1, at 5 p.m. at St. Louis Roman Catholic Church.