Melbourne Bach Choir’s Artistic Director Rick Prakhoff comes from a family steeped in both Ukrainian and Russian culture. He would not boycott a composer on account of their nationality – ‘art is not the enemy’ – but in response to the invasion of the Ukraine, Prakhoff included Ukrainian songs alongside Rachmaninov’s unaccompanied choral work, the All Night Vigil.

So it transpired that an Anglican church in suburban Melbourne hosted a Russian composer’s setting of the Eastern Orthodox vigil (sung in Church Slavonic), interspersed with six art songs (sung in Ukrainian).

Melbourne Bach Choir at St John’s Anglican, Melbourne. Photo supplied

Rachmaninov’s Vigil is a 15-movement, distinctively Rachmaninovian, concert piece for two soloists and a 12-part unaccompanied choir. While drawing on traditional chants, Rachmaninov also created fresh ‘counterfeits’ in the traditional style. Rachmaninov’s distinctively long, mellifluous phrases and close, rich harmonies infused the music with a timeless, meditative perspective, making the dramatic moments all the more impactful. The Choir was well-balanced, with the deep ‘Russian’ basses creating the perfect sonic pillow.

Through a Ukrainian chorister, Alexander Pokryshevsky, the Choir gained access to the vast trove of Ukrainian music collected by baritone Pavlo Hunka and his wife Larysa for The Ukrainian Art Song Project.

Hunka volunteered to select six art songs by Yuliy Meitus (1903-1997), a prodigious composer who wrote eighteen operas and over a hundred songs. Hunka was part-way through this when he passed away suddenly. The Choir  dedicated this performance of Meitus’ songs to Pavlo Hunka (1959-2026) and recorded it for the Art Song Project.

Pokryshevsky, Mezzo soprano Belinda Paterson and tenor Michael Petruccelli each sang two contrasting songs, accompanied by the gifted pianist, Kathryn Pisani, who made an empathetic connection with the soloists and played the impressionist accompaniments with great flair and sensitivity.

In Rustling Poplars, Pokryshevsky was a spurned and sleepless lover and we felt extraordinarily deep voice; while in Seize the day!, a characterful piece, he channelled a female protagonist bent on abandoning responsibilities to satisfy her urge to dance.

Paterson, who had sung a low-pitched solo (Bless the Lord) in the Vigil, returned with two sentimental songs showcasing her wide vocal and emotional range: An unforgettable moment, a lyrical romance, and A dream, which told of a tired mother’s fleeting dream for her son’s future.

Petruccelli’s delicate interpretation of Blessed art Thou in the Vigil and his evocative performances of the poignant Where are you?  and the more traditional song, I pluck at seven strings, were concert highlights. His silky voice could make a tax invoice pop.

Prakhoff’s decision to present Rachmaninov’s Vigil alongside Meitus’ Ukrainian art songs was insightful. We saw the beauty in both.

For more information on Melbourne Bach Choir in 2026, visit www.mbc.asn.au