The offer came out of the blue. A phone call. Would Melbourne bass-baritone Lachlan McDonald be prepared to jump into the line-up of Britain’s revered Tallis Scholars for their upcoming Australian tour.

“They suddenly needed a bass and I couldn’t really say no,” McDonald tells Limelight. For McDonald, who has long admired the group’s recordings, the invitation was irresistible – but there was a catch. He was already scheduled to appear at the Port Fairy Spring Music Festival with the Consort of Melbourne, performing its touring chamber project with Melbourne’s Homophonic!, Moonlight. 

“That was a tricky one,” McDonald admits. “I had to call Steven Hodgson, Consort’s director, and say – and I’d never normally ask this – but can you manage without me? To his credit, he gave me his blessing, and they’re finding a replacement.”

Lachlan McDonald. Portrait © Ian Laidlaw Photography

The Tallis Scholars’ Australian programs are not for the faint-hearted. Across two separate recitals in Melbourne and concerts in Canberra, Adelaide, Brisbane and Sydney, the ensemble is presenting repertoire ranging from Renaissance polyphony to works by living composers Nico Muhly and Arvo Pärt.

“For me, about half the music is new,” McDonald says. “I’ve sung the Victoria Requiem a few times, and I know some of the Renaissance repertoire, plus one of the Pärt pieces. But the rest I’m learning from scratch.”

And he has little time. Unlike most engagements, there will be no rehearsal days. “I’ll literally walk into the sound check at Melbourne Recital Centre, and then go. That’s the reality of coming in on less than two weeks’ notice.”

It sounds terrifying, but McDonald insists he’s prepared. He’s a gun sight-reader. “Actually, I think that might be why I got the call,” he says. “Sight-reading has always been one of my strengths. The Australian Boys Choir was a fantastic training ground for that.”

Lachlan McDonald in Moonlite. Photo © Darren Gill

Founded in 1973 by director Peter Phillips, the Tallis Scholars are celebrating their 50th anniversary and remain the gold standard in Renaissance choral music. For a young Australian singer, the chance to slot into such a veteran ensemble is both daunting and exhilarating.

“It’s a huge opportunity,” McDonald acknowledges. “Australia has a really vibrant chamber vocal scene, but the Tallis Scholars are next level. To be able to show them what I can do, and experience their way of working after five decades together – that’s priceless.”

Peter Phillips (centre) with The Tallis Scholars. Photo supplied

He has been doing his homework. “I’ve spoken with a couple of former Scholars about what kind of vocal quality they look for, and what Peter Phillips is like as a director. Some of the advice probably shouldn’t be printed,” he laughs. “But it’s useful to know what to expect.”

The pressure is real. Joining a group with such a finely tuned collective sound is no easy feat, especially on short notice. “It is stressful,” McDonald says. “But I can prepare the music, sing the concerts, and learn as much as I can. What happens, happens. I’ll try to enjoy it while it’s happening.”

The highlight, he predicts, will be singing Victoria’s Requiem. “We’re only doing it once in Melbourne and I love that piece. To sing it with the Scholars, in my home city, will be something special.”

McDonald is quick to put the challenge in perspective. “You take the opportunities when they come. When a group like this needs a singer and there’s no rehearsal time, you just jump. To be honest, it’s all happened so quickly I haven’t really had time to overthink it – which is probably for the best.”

“But it’s definitely one of those pinch-yourself opportunities. You don’t say no to the Tallis Scholars.”

The Tallis Scholars perform at Melbourne Recital Centre, 5 and 6 October, Canberra Theatre Centre (7 October), Adelaide Town Hall (9 October), QPAC Brisbane (10 October) and Sydney Opera House on 12 October.