Latest of the musical groups to perform at the Kalamazoo Institute of Arts in conjunction with KIA’s hosting of the “Millet to Matisse” exhibit was the Kalamazoo Singers.  Sunday afternoon at the KIA auditorium, the Singers presented “A French Connection: A Celebration of French Painting and French Choral Music.”  Now in its 27th season, the Kalamazoo Singers performed under music director and conductor Thomas Kasdorf and were accompanied by Helen Lukan.  Drawing on six French composers from the mid-1800s to the present, the program offered enough different music to satisfy everyone in the full hall.  Adding variety were two piano works interspersed with the choral selections.

Possibly most intriguing was “Quatre Motets sur des themes Gregoriens” (Four Motets on Gregorian Themes) by Maurice Durufle (1902-1986).  Opening each of its four sections were solo introductory phrases by tenor David Senecal.  Singing a capella, the singers produced a sound of delicate interweaving in part I (Ubi caritas).

Part II (Tota pulchra es) featured smoothly flowing melodic lines culminating in a delightful pianissimo.  The final sections (Tantum ergo) heard the melding into a lovely whole of the vocal sections as they entered separately.  Previously, Durufle’s charming “Notre Pere” (The Lord’s Prayer) displayed lovely tonal coloration by the singers to match the wafting, gentle melodies.

Two selections by Gabriel Faure (1845-1924) also brought solid satisfaction.  His “Cantique de Jean Racine” (Song of Jean Racine) showcased lovely melodies and harmonies washing over the attentive audience.  The concluding lines, “And these thy gifts we return unto thee!” proved affecting as sung feelingly by the group.  Faure’s “Pavane” followed, with piano accompaniment by Lukan.  Repeated phrases created a wafting effect, in and out.  Faure’s piece moved systematically toward its compositional destination – “On s’adore! On se hate!” (We love each other! We hate each other!).  The structure here was noteworthy and impressive.

Maurice Ravel (1875-1937)  was represented by two works.  His familiar and entrancing “Pavane pour une Infante defunte” (Pavane for a Dead Princess) was performed by crooning “Oo” throughout.  Ravel’s infectious core melody performed its usual magic.  Equally enjoyable was the singers’ lively rendition of George Bizet’s “Valse avec choer” (Waltz with Chorus).  Aided by essential piano passages, the singers caught up their listeners in the hypnotic swirling of the dance.

Providing a change of pace was Lukan’s solo piano performance of Claude Debussy’s “Reverie.”  Though a bit rushed and over-pedaled, her playing still projected much of the piece’s great beauty.  Lukan joined with prior Singers’ accompanist Janlee Richter in a duet version of Bizet’s playful “Jeux d’Enfants” (Children’s Games).  Both pianists showed firm mastery with numerous chromatic runs, furious trills and several hand reach-overs.  A delightful encore, “Aupres de ma Blonde,” completed the afternoon’s best portions.

The Singers opening piece, Francis Poulenc's "Exultate Deo," distracted with problems of pitch and entrances.  Ravel's overly ambitious "Trois Chansons" (Three Songs) proved very difficult for the group, leading to muddy interior notes, intonation difficulties, and errant attacks and releases.  But no one minded.  There remained many other glorious works to revel in, along with much fine singing.