From Despair to Joy: Holy Week with Tomás Luis de Victoria
VOICES
Tutor: David Allinson
Didsbury Baptist Church, Beaver Road, Manchester, M20 6SX
Reviewer: Gerardo Vigo
The North West Early Music Forum (NWEMF) choral workshop on Victoria’s music for Lent and Holy Week, held at Didsbury Baptist Church, was a thoroughly engaging and rewarding day. As my first choral workshop-and my first experience with NWEMF-it provided a welcoming introduction to this style of music-making in a supportive and well-structured setting.
With around 70 participants, the overall sound was rich and full, if somewhat weighted towards the soprano and alto lines: unsurprising given how Tomás Luis de Victoria often writes in a higher tessitura. The group itself leaned towards experienced singers, including a number of church choristers and some younger students, which created a musically responsive and confident ensemble atmosphere.
The day was led by David Allinson, whose combination of scholarship, technical insight, and humour shaped the workshop throughout. His approach was energetic and encouraging, with a clear focus on both musical detail and overall expression. Rehearsals were integrated with light physical movement and imaginative vocal exercises: one memorable warm-up involved singing scales while deliberately omitting certain numbers, which proved deceptively challenging and kept everyone alert.
The repertoire included motets such as O vos omnes and Ascendens Christus in altum, which showcased Victoria’s characteristic intensity and clarity of text. Dr Allinson consistently encouraged a more direct, human approach to the music-particularly in the more sombre Tenebrae-style writing-reminding singers not to be overly restrained, but to communicate the emotional weight of the text with conviction.
A particularly effective aspect of the workshop was the use of space. At various points, singers were rearranged into mixed SATB groupings in a large circle, ensuring that each section was interspersed. This encouraged independence and more attentive listening across parts. At other moments, the group was asked to face the walls, minimising reliance on the conductor and shifting the focus towards internal pulse and ensemble cohesion.
The use of imagery (common in choral direction) was handled with both clarity and creativity. Phrases were shaped through descriptions such as “joyfully skipping,” “unapologetically swinging,” or forming a “celestial dance,” alongside more playful ideas like “calling a kebab shop” or “marinating the sound.” These metaphors, while light-hearted, translated effectively into tangible musical results, particularly in articulation and phrasing. Technical points were delivered just as practically. Simple adjustments-such as relaxing the cheeks and allowing the lips to drop slightly for vowel sounds like “ee”—made an immediate difference to tone and texture.
Although the workshop naturally suited singers with some prior experience, it remained accessible to confident beginners willing to engage actively with the material. Familiarity with the repertoire in advance would certainly help, but the supportive atmosphere made it possible to settle into the music over the course of the day.
Overall, this was a well-paced, thoughtfully led workshop that balanced musical rigour with an enjoyable and inclusive atmosphere. It offered not only a valuable introduction to NWEMF, but also a compelling way into Victoria’s music through attentive listening, collaboration, and expressive singing. I am very grateful to Bryan Au Yeung for introducing me to NWEMF and certainly look forward to more workshops like this.
Published in June 2026 Newsletter
See also Workshop report – 21 March 2026
