VIVACE CHORUS
'LONDON SYMPH
THE LONDON
ROMSEY CH
Sunday
5th May 2011
—
Royal Albert Hall
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Vivace
Chorus
ALBERT
Mahler
Symphony No 8 in E flat major
'Symphony of a Thousand’
Claire Seaton
Soprano 1
Magna Peccatrix
Elisabeth Meister
Soprano 2
Una Poenitentium
Helen Neeves
Soprano 3
Mater Cloriosa
Susanna Spicer
Mezzo-soprano 1
Mulier Samaritana
Deborah Miles-Johnson
Mezzo-soprano 2
Maria Aegyptiaca
Tenor
Doctor Marianus
Colin Campbell
Baritone
Pater Ecstaticus
Michael Bundy
Bass
Pater Profundus
~ Adrian Thompson
Royal Philharmonic Orchestra
Vivace Chorus
London Symphony Chorus
The London Chorus
Romsey Choral Society
|-_
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T
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Individual sponsors
Robin Broadley
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The Vivace Chorus 'Adopt a Musician’ Scheme
Clarinet
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To mark the centenary of Mahler’s death, five choirs, including the
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Consciously intended as his magnum opus, Mahler described the
Musically compatible
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listener on an earthly and heavenly journey of monumental
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Claire Seaton (soprano)
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Deborah Miles-Johnson (mezzo)
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Susanna Spicer (mezzo)
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He has written extensively on the music of Gustav Mahler, including
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He has given lectures, talks and study days on Mahler at LSO St Luke's,
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season at the Royal Festival Hall. In July of this year he is organising a
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entitled Mahler: Contemporary of the Past?, at which many of the
world’s leading Mahler scholars will be speaking, and artists such as
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Uri Caine and The Endymion Ensemble will be performing.
His pre-concert talk assesses the cultural and musical significance of
- graphic design
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Mahler’s Eighth Symphony as, in the composer’s words, “a gift to the
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human and spiritual renewal.
PRE-CONCERT TALK
9
Gustav Mahler (1860 - 1911)
Biography
Mahler was born in
Kalischt, Bohemia. Later to
form a major
component of
Czechoslovakia, and then
the Czech Republic, at the
"
Beethoven and Wagner, all three probably having more
influence than Bruckner, who is most consistently cited as
being Mahler’s main influence.
Symphony No 8 in E flat major
The Background
the crumbling Austro-
In May 1906, Mahler had conducted the first performance of
his tragic Sixth Symphony before returning to his summer
the region where Mahler
spent his youth was
strongly associated with the Czech independence
movement.
Mahler studied at the Vienna Conservatoire and, after many
years spent conducting at a series of regional opera houses,
he rose to prominence after his appointment in 1897 as
Music Director of the Vienna Opera, which reached its
zenith under his leadership. In 1907 Mabhler left Vienna to
~ continue his conducting career in the USA, serving with
Toscanini as conductor of the Metropolitan Opera. He
‘conducted two seasons, and then accepted a 2-year
contract from the Philharmonic Society (now the New York
Philharmonic).
Throughout his career Mahler spent most of the concert
season conducting, so he composed mainly during the
summer at his country retreat at Maiernigg. He limited his
composing to only two genres — the symphony and lieder —
completing ten symphonies (nine numbered works and Das
Lied von der Erde) and died leaving sketches and two
completed movements of another.
PROGRAMME NOTES
preoccupation with death. His music drew heavily on Bach,
time Bohemia was part of
. Hungarian empire, and
6
Mabhler is known for the length, depth and painful emotions
of his works. He loved nature and life but, based on early
unhappy childhood experiences, had a fear of and
retreat to begin work on a setting of the ninth-century
Pentecostal hymn Veni, Creator Spiritus celebrating the
descent of the Holy Spirit. This became the first part of the
Eighth Symphony, completed in an extraordinary burst of
creativity over the ensuing 8 weeks (it was orchestrated the
following year). For 4 years, during which time he also
produced the dark Seventh Symphony, Mahler withheld this
most gigantic of all symphonic scores from an increasingly
curious world of musicians. Not until 1910 did he finally
agree to the premiére of the work, which took place in
Munich on 12th September with Mahler himself conducting.
The Eighth proved to be his greatest triumph, in front of an
audience including Erich Korngold, Siegfried Wagner, Felix
Weingartner, Anton Webern, Leopold Stokowski, Willem
Mengelberg, Bruno Walter, Clemenceau, Thomas Mann,
Max Reinhardt and Henry Ford.
This acclaim for Mahler as a composer was not to be
repeated in his lifetime. His health had steadily declined
during his stay in the United States and he was already
seriously ill with endocarditis at the premiere; he died only
months later.
An Overview
Mabhler’s Eighth Symphony is composed on an epic scale, the
The symphony has just two movements: the first an
forces required to perform it being almost without parallel:
imposing setting of the Latin Veni, Creator Spiritus hymn; the
two large choruses, a children’s choir, eight soloists, a vast
second a dramatic, slightly shortened version of the final
symphony orchestra (including
scene from Goethe’s Faust.
quadruple winds with eight
The two texts, separated by a
horns, as well as mandolin and
millennium, fuse religion and
harmonium), organ and
humanism together and are
additional off-stage brass of
unified by a common idea,
four trumpets and three
that of redemption through
trombones. At the first
the power of love. This
performance, there was an
philosophical and musical
orchestra of 171 (including 84
unity is conveyed through
strings) and a chorus of 850,
thematic links found between
giving a total of 1029 performers
the two parts.
— hence the sobriquet
'Symphony of a Thousand’
As with the symphony,
ascribed to the work by Emil
Coethe’s tragic drama Faust is
Gutmann, the impresario who
also constructed in two parts,
mounted this “Barnum and
although any familiarity with
Bailey” affair (Mahler’s epithet, he being unimpressed by
the work is usually confined to Part I. Here the aged and
Gutmann'’s title).
disillusioned scholar Faust enters into a pact with
The Eighth was the most immediately accepted of all
can provide Faust with any sensuous experience to his hkmg
Mahler’s works and, as he himself predicted to Mengelberg,
also the most easily understandable. It is a statement of
Mahler’s personal aspirations: a belief in the ability of the
inspired spirit to lift mankind to the highest plane of
achievement through love in all its aspects and embodied
specifically in ‘the Eternal-Feminine” which, for Mahler,
8
Mephistopheles that he will forfeit his soul if Mephlstophelesi
Among the temptations offered is the young girl Gret(:hen
(also known as Margaret), whom Faust seduces and then
abandons. Sheis imprisoned and awaiting execution for
drowning the newborn child she conceived by him. Faust
tries but fails to persuade her to escape; she instead throws
herself on God’s mercy and is thus redeemed.
meant his wife Alma, to whom the work is dedicated. Within
~
that scheme there are other interconnecting ideas to do
Part Il is regarded as one of the most difficult works of
with faith, belief and theology which find resonance in the
German literature and has virtually no reference to the
texts chosen and the way they compare and contrast.
romantic story of Part I. Faust, still with the aid of
Drawing by permission of Ken Cox (kencoxdesign @tiscali.co.uk)
PROGRAMME NOTES
7
|
Mephistopheles, undertakes a new cycle of adventures
which gain purpose; finally he reclaims lands from the sea
which he intends to turn into a paradise on earth - his legacy
to mankind. In the closing scene of Part ll, Faust too is
ultimately received in heaven, redeemed through his
enduring love for Gretchen and his desire to help humanity.
Part I: Veni, Creator Spiritus
The symphony begins with a thunderous organ chord in
E-flat, before the massed choirs’ opening invocation of the
creator spirit. There follows an extended radiant polyphonic
dialogue between soloists and choirs.
The central development is in two phases. The first,
beginning Infirma nostri corporis, is interrupted by a short
orchestral interlude dominated by the tolling of bells, adding
a sombre feel to the music.
The second developmental phase is launched by Accende
lumen sensibus, a new variant of the opening theme from
‘the massed choirs. The first children’s chorus follows; the
music gathers force and pace, and incorporates a double
of great contrapuntal complexity, involving
nt of gany of the preceding themes. All forces
. recapitulation of the opening Veni,
Part II: Final Scene from Goethe’s Faust, Part Il
An extended orchestral prelude, in complete contrast to the
musical style of the preceding movement, evokes the
mountains, forests and wilderness of the closing scene of
Goethe’s drama. The scene opens with 'Choir and Echo’
followed by the first of the vocal soloists, who are now
named devotional figures, Pater Ecstaticus and Pater
Profundus. Choirs of Angels and Blessed Boys bear Faust’s
soul to heaven. The choirs are joined by Doctor Marianus
(representing Anselm, Archbishop of Canterbury from 1093
to 1109 and who, as a young man, was known to have spent
time wandering in the Alps). In response to his hymn of
praise, the Mater Gloriosa (Virgin Mary) herself comes into
view.
The Penitent Women accompanying the Mater Gloriosa are
Magna Peccatrix (the repentant sinner who washed Christ’s
feet with her tears) and Mulier Samaritana, the woman of
Samaria. The third, Maria Aegyptiaca, is a character taken by
Goethe from Acta Sanctorum (Acts of the Saints), a 17thcentury collection of hagiographies. The fourth penitent (Una
Poenitentium) is the soul of Gretchen. She in turn intercedes
on Faust’s behalf and the Mater Gloriosa, thus far unheard,
responds, inviting Gretchen’s soul to soar to “higher
spheres”, and saying that Faust’s will follow.
The closing Chorus Mysticus begins almost imperceptibly Mahler’s notation here is Wie ein Hauch, “like a breath” and is reminiscent of the Resurrection chorus from his
Second Symphony. The music gradually grows to an
overwhelming climax, uniting the fervour of the Pentecostal
hymn with Goethe's vision of ‘the Eternal-Feminine’ drawing
us upward.
Symphony No 8, ‘Symphony of a Thousand’
Part I
Hymnus: Veni, Creator Spiritus
Veni, creator spiritus,
Come, creator spirit,
mentes tuorum visita.
visit our souls.
Imple superna gratia,
Fill them with grace,
quae tu creasti pectora.
Thou that didst create them.
Qui Paraclitus diceris,
Thou, that are called Counsellor,
donum Dei altissimi,
gift of God most high,
fons vivus, ignis, caritas,
living fount, fire, love,
et spiritalis unctio.
and unction of the spirit.
Infirma nostri corporis
Endow our weak flesh
virtute firmans perpeti;
with perpetual strength,
accende lumen sensibus,
kindle our senses with light,
infunde amorem cordibus.
pour Thy love into our hearts.
Hostem repellas longius,
Drive the enemy far from us,
pacemque dones protinus;
grant us lasting peace;
ductore sic te praevio
so, beneath Thy guidance,
vitemus omne pessimum.
we may avoid all ill.
Tu septiformis munere,
digitus paternae dexterae.
Per te sciamus da Patrem,
noscamus Filium,
Spiritum credamus omni tempore.
e
-
Da gaudiorum praemia,
Grant us joy,
da gratiarum munera;
Crant us the gift of grace;
dissolve litis vincula,
loosen the chains of contention,
adstringe pacis foedera.
bind fast the covenants of peace.
Gloria Patri Domino,
Glory to God the Father,
Deo sit gloria et Filio
Glory to the Son
Natoque, qui a mortuis surrexit,
who rose from the dead,
ac Paraclito in saeculorum saecula.
and to the Consoling Spirit for evermore.
Part II
Closing Scene of Goethe’s Faust, Part II
Choir and echo
(Mountain ravines, forest, rocks, wilderness. Holy hermits dwell among clefts in the mountainside.)
-
Waldung, sie schwankt heran,
Forest sways towards us,
Felsen, sie lasten dran,
rocks weighing down heavily,
Wourzeln, sie klammern an,
roots grapple their flanks,
Stamm dicht an Stamm hinan.
trunk close to trunk, pushing upward.
Woge nach Woge spritzt,
Wave chasing wave, foaming,
Hohle, die tiefste, schitzt;
deepest cave affords shelter.
Lowen, sie schleichen stumm,
Lions stalk silently,
~,,k,”freundlich um uns herum,
Ehren geweihten Ort,
~ heiligen Liebeshort.
~
honouring the sacred place,
holy sanctuary of love.
Pater Ecstaticus (soaring high and low)
- :Enge;* Wonnebrand,
~
glthendes Liebesband,
~ siedender Schmerz der Brust,
~ schaumende Gotteslust.
10
amicably around us,
Eternal flame of bliss,
glowing bond of love,
seething agony in the breast,
sparkling delight in God.
Pfeile, durchdringet mich,
Arrows, pierce mel
‘Lanzen, bezwinget mich,
- Keulen, zerschmettert mich,
Lances, subdue me!
- TEXT AND TRANSLATION
Clubs, shatter me!
Blitze, durchwettert mich;
Lightning bolts, flash through me;
dal ja das Nichtige
so that all vain things
alles verflchtige,
should vanish, that
glanze der Dauerstern,
the constant star may shine forth;
ewiger Liebe Kern!
kernel of everlasting love!
Pater Profundus (from the depths)
Wie Felsenabgrund mir zu Ftllen
As the rocky precipice at my feet
auf tiefem Abgrund lastend ruht,
rests heavily in the deep abyss;
wie tausend Bache strahlend flieRen
as a thousand streams flow radiantly
zum grausen Sturz des Schaums der Flut;
toward the dread falls of the surging flood;
wie strack, mit eig'nem kraft'gen Triebe,
as straight upward, of its own might urging,
der Stamm sich in die Lufte tragt:
the tree trunk raises itself into the air:
So ist es die allmacht'ge Liebe,
So it is almighty love
die alles bildet, alles hegt.
who shapes all things, cherishes all things.
Ist um mich her ein wildes Brausen,
Though all about me is wild roaring, as
als wogte Wald und Felsengrund!
if woods and rocky base were in tumult!
Und doch stirzt, liebevoll im Sausen
Yet, full with love in its rushing,
die Wasserftille sich zum Schlund,
the mass of water hurls itself into the gorge,
berufen gleich das Tal zu wassern;
as though ordained to water the valley,
der Blizt, der flammend niederschlug,
the lightning bolt flaming downward
die Atmosphére zu verbessern,
to purify the atmosphere
die Gift und Dunst im Busen trug:
that bore poison and vapou
Sind Liebesboten, sie verkiinden,
These are love's my
was ewig schaffend uns umwallt.
ever-creating for
Mein Innres mog’ es auch entztinden,
wo sich der Ceist, verworren, kalt,
verqualt in stumpfer Sinne Schranken,
scharfangeschloss’'nem Kettenschmerz.
O Gott! beschwichtige die Gedanken,
erleuchte mein bedurftig Herz!
Angels (soaring in the higher atmosphere, bearing Faust’s immortal soul)
Gerettet ist das edle Glied
Saved from evil is the noble limb of
der Geisterwelt vom Bosen:
the spirit world:
Wer immer strebend sich bemuht
den konnen wir erlosen;
und hat an ihm die Liebe gar
And if love from on high
von oben teilgenommen,
begegnet ihm die sel’'ge Schar
mit herzlichem Willkommen.
Who ever ceaselessly strives,
him we have power to redeem.
has also taken its part,
the blessed host will greet him
with heartfelt welcome.
Choir of blessed boys
(circling around the loftiest peaks, singing with the angels)
Hande verschlinget euch
Clasp one another’s hands joyfully in
freudig zum Ringverein,
the circle of union;
regt euch und singet
bestir yourselves and let your song
heil'ge Cefuhle drein!
add holy sentiments thereto!
Gottlich belehret,
Divinely instructed,
durft ihr vertrauen;
you may rest assured;
den ihr verehret,
Him you worship
werdet ihr schauen.
you will behold.
younger angels
en, aus den Handen
BllRerinnen,
gewinnen
Those roses from the hands
of loving-holy women penitents
helped us to achieve the victory
and fulfill the lofty purpose,
to capture this treasured soul.
Evil gave way as we strewed them,
devils fled as we hit the mark.
Instead of the accustomed punishments of Hell
the spirits felt pangs of love;
he old Satan-master himself
was von spitzer Pein durchdrungen.
was pierced by sharp pain.
Jauchzet auf! es ist gelungen.
Shout for joy! It is accomplished.
The more perfect angels
Uns bleibt ein Erdenrest
zu tragen peinlich.
To us remains an earthly residue
.
painful to bear.
Und war er von Asbest
And though it were of asbestos,
er ist nicht reinlich.
yet it is not pure.
Wenn starke Geisteskraft die
When the great might of the spirit
Elemente an sich herangerafft,
has clutched fast the elements to itself,
kein Engel trennte geeinte Zwienatur
no angel could rend apart the dual
der innigen beiden;
nature intimately conjoined;
die ewige Liebe nur vermag’'s zu scheiden.
everlasting love alone is able to divide it.
The younger angels
Ich spuar’ soeben,
| perceive at this moment,
nebelnd um Felsenhoh,
like a mist round the rocky heights,
ein Geisterleben, regend sich in der Nah'.
a stir of spirits bustling nearby.
Seliger Knaben seh” ich bewegte Schar,
| see a stirring host of Blessed Boys,
los von der Erde Druck,
freed from earth’s burden,
im Kreis gesellt,
in a circle joined,
die sich erlaben am neuen Lenz
delighting in the new springtide
und Schmuck der obern Welt.
and adornment of the upper worl
Sei er zum Anbeginn,
Let him at first be joined
steigendem Vollgewinn
to these until finally he
diesen gesellt!
attain the highest
Chorus of blessed boys (singing with the younger angels)
Freudig empfangen wir
diesen im Puppenstand;
also erlangen wir
englisches Unterpfand.
|
Loset die Flocken los,
Free him of the tufts
die ihn umgeben!
which envelop him.
Schon ist er schon und gross
He is already tall and beautiful
von heiligem Leben.
with sanctified life.
Doctor Marianus (in the highest, most pure retreat)
Hier ist die Aussicht frei,
Here the view is unobstructed,
der Geist erhoben.
the spirit exalted,
Dort ziehen Frauen vorbei,
there women are passing by,
schwebend nach oben;
soaring toward the heights;
die Herrliche, mittenin,
the All-Glorious One in their midst,
im Sternenkranze,
with a coronet of stars,
die Himmelskonigin,
the Queen of Heaven,
ich seh’s am Glanze.
| behold her by her radiance.
Hochste Herrscherin der Welt!
Highest Mistress of the World!
Lasse mich im blauen,
Let me, in the blue, outspread vault
ausgespannten
of Heaven,
Himmelszelt dein Geheimnis schauen!
behold thy mystery!
Bill'ge, was des Mannes Brust
Accept that which moves the heart of
ernst und zart beweg't
man earnestly and tenderly,
und mit heil'ger Liebeslust
and which, with the joy of holy love,
ir
entgegen tragt!
inglich unser Mut,
he offers up to thee!
Indomitable our courage
gebietest;
when thou, sublime, commandest;
- sich die Clut,
at once the raging heat subsides
when thou givest us peace.
Virgin, pure in the fairest sense,
Mother, worthy of honour,
over us chosen Queen,
equal to gods.
(Mater Gloriosa floats into view)
Chorus
Dir, der Unberthrbaren,
Thou, unassailable,
ist es nicht benommen,
dost yet allow
dal} die leicht Verfthrbaren
those easily led astray
traulich zu dir kommen.
in intimacy to approach thee.
In die Schwachheit hingerafft,
Seized into weakness,
sind sie schwer zu retten.
they are difficult to save.
Wer zerreifSt aus eig'ner Kraft
Who, of his own strength,
der Gellste Ketten?
can break apart the chains of desire?
Wie entgleitet schnell der Ful}
How swiftly does the foot slip
schiefem, glattem Boden?
on smooth, sloping ground?
Penitent women with Una Poenitentium (Gretchen)
Du schwebst zu Hohen
Thou dost soar to the heights
der ewigen Reiche,
of the everlasting realms;
vernimm das Flehen,
hear the supplication,
Du Gnadenreiche!
Thou, rich in grace!
Du Ohnegleiche!
Thou, unequalled!
Magna Peccatrix
Bei der Liebe, die den Fulken
By the love that at the feet
deines gottverklarten Sohnes
of thy divinely transfigured
Tranen liels zum Balsam fliel3en,
let tears flow as balm,
trotz des Pharisder-Hohnes;
beim Gefdle, das so reichlich
tropfte Wohlgeruch hernieder;
bei den Locken, die so weichlich
trockneten die heil’gen Glieder.
Mulier Samaritana
Bei dem Bronn, zu dem schon
By the well, to which once of old
weiland Abram lielR die Herde ftihren;
Abram drove his flock;
bei dem Eimer, der dem Heiland
by the water-vessel which was suffered to
kahl die Lippe durft’ berthren;
touch with its coolness the Saviour’s lips;
bei der reinen, reichen Quelle,
by the pure rich spring
die nun dorther sich ergiellet,
which pours forth from that place
UberflUssig, ewig helle,
overflowing, eternally bright,
rings, durch alle Welten flief3t.
coursing roundabout through all worlds.
Maria Aegyptiaca
Bei dem hochgeweihten Orte,
By the sublime and holy place
wo den Herrn man niederlieR3,
where the Lord was laid to rest,
bei dem Arm, der von der Pforte
by the arm which from the gate
warnend mich zurticke stiel$;
warning, thrust me back;
bei der vierzigjahr'gen Bulle,
by the forty years’ penance
der ich treu in Wusten blieb;
to which | remained faithful in the deserts;
bei dem sel’'gen ScheidegruRe,
by the blessed farewell
den im Sand ich niederschrieb.
| wrote in the sand.
Magna Peccatrix, Mulier Samaritana and Maria Aegyptiaca
du groflen Stinderinnen
ldhe nicht verweigerst,
Thou, who dost not deny thy presence
to women who have sinned greatly
and the reward gained by penitence
dost raise to eternity,
grant also to this good soul,
who forgot herself but once,
not suspecting that she erred,
thy just pardon!
Una Poenitentium (entreating the Virgin)
Neige, neige,
Incline, incline,
du Ohnegleiche,
Thou unequalled,
du Strahlenreiche,
richly-radiant,
dein Antlitz gnddig
thy countenance favourably
meinem Gltck!
upon my happiness!
Der frih Geliebte,
The beloved of my youth,
nicht mehr Getribte,
no longer tarnished,
er kommt zurtck.
IS returning.
Blessed boys (circling near)
Er Uberwachst uns schon
He outstrips us already
an macht’'gen Gliedern,
on mighty limbs;
wird treuer Pflege Lohn
he will richly repay
reichlich erwidern.
our faithful care.
Wir wurden frih entfernt
We were taken away early
von Lebechoéren,
from the choir of the living,
doch dieser hat gelernt:
but this man has learned:
er wird uns lehren.
he will teach us.
Una Poenitentium
Vom edlen Geisterchor umgeben
Surrounded by the noble choir of spiri
wird sich der Neue kaum gewahr
the newly arrived is scarcely aw
er ahnet kaum das frische Leben,
barely perceiving the fresh li
so gleicht er schon der heil'gen Schar.
sacred host.
Sieh, wie er jedem Erdenbande
der alten Hulle sich entrafft,
und aus atherischem Gewande
hervortritt erste Jugendkraft!
Vergonne mir, ihn zu belehren!
Noch blendet ihn der neue Tag!
See how, of al
Mater Gloriosa
Komm! hebe dich zu héhern Spharen!
Comel! Raise yourself to higher spheres!
Wenn er dich ahnet, flogt er nach.
When he apprehends you, he will follow.
Doctor Marianus (bowing in worship)
Blicket auf zum Retterblick,
Lift your eyes to the redeeming gaze,
alle reuig Zarten
all beings, repentant, frail,
euch zu sel'gem Gluck
that in gratitude you may be transformed
dankend umzuarten!
to blessed destiny!
Werde jeder bess're Sinn
May every nobler thought
dir zum Dienst erbétig;
be in readiness to serve you;
Jungfrau, Mutter, Kénigin,
Virgin, Mother, Queen,
Gottin, bleibe gnadig!
Goddess, ever be merciful!
Chorus Mysticus
Alles Vergangliche
Everything transitory
ist nur ein Cleichnis;
is but an image;
das Unzulangliche,
that which is imperfect
hier wird’s Ereignis;
here takes place;
das Unbeschreibliche,
the inexpressible
hier ist’s getan;
here is seen;
wig-Weibliche
the Eternal-Feminine
draws us upward.
Presentation flowers designed and made by floristry students at
Merrist Wood College, Worplesdon, Guildford.
For details of Professional Floristry courses at Merrist Wood call
Inf
ion and Advice on 01483 884010
Claire Seaton
Elisabeth Meister
soprano
soprano
Born in Wolverhampton, Claire studied at
British soprano Elisabeth Meister is a
the Birmingham School of Music, at the
member of the Jette Parker Young Artists
Royal Academy of Music with Rae
Programme at the Royal Opera House,
Woodland and Kenneth Bowen, and
Covent Garden. Her roles on the main
subsequently with Linda Esther-Grey. She
stage include Pale Lady (The Gambler),
Fox (The Cunning Little Vixen) and High
joined Kent Opera during her final year at
the Academy, was awarded the Wessex
"
Priestess (Aida). For the 2010/11 season
Clyndebourne Association Prize in 1998 and in 1999 made her
she will perform the roles of First Lady (Die Zauberfléte) and Lady-in-
Clyndebourne Festival Opera debut singing the role of Vitellia
waiting (Macbeth). Cover roles for Covent Garden include the title roles
(La Clemenza di Tito).
Further engagements at Glyndebourne included covering the roles of
in Der Rosenkavalier, Aida, and Anna Nicole; also Polina (The Gambler)
and Ellen Orford (Peter Grimes).
Ellen Orford (Peter Grimes) and the Countess (Le Nozze di Figaro),
She was trained at the Royal Academy of Music and the Guildhall
followed by contracts with Opera de Lyon and Opera Europa. One of
School of Music and Drama, then at the Cardiff International Academy
the country’s most adaptable sopranos, Claire also enjoys remarkable
of Voice, where she studied with Dennis O'Neill.
success in the early music field, where she has worked with ensembles
Operatic repertoire includes Fiordiligi (Cosi fan tutte) Countess (Le
such as The Tallis Scholars and the Gabrieli Consort, with whom she
Nozze di Figaro), Judith Weir’s King Harald’s Saga, Mimi (La Bohéme), and
made her BBC Proms debut in Handel’s Dixit Dominus. She has also
Woglinde (Das Rheingold). A well-established concert artist, she has
recorded the soprano solos in Allegri's Miserere for Regent Records.
appeared in Haydn's Creation, Dvorak’s Stabat Mater, Haydn’s Nelson
Claire’s oratorio experience is extremely broad and she is particularly
renowned for her performances of Verdi's Requiem, Brahms’ Requiem
Mass, Elgar's Dream of Gerontius and The Kingdom, Jenkins’” The Armed
Man, Mabhler’s Fourth Symphony, Mendelssohn’s Elijah, Mozart's
and Mozart’'s C Minor Mass.
C Minor Mass, Rossini’s Stabat Mater, Tippett's A Child of our Time and
Recent engagements have included Mendelssohn’s Elijah with Willard
Vaughan Williams" A Sea Symphony.
White in Chichester Cathedral, Bach’s B minor Mass with Michael
A frequent guest at St John's, Smith Square, Elisabeth Meister ‘has‘
Chance and Verdi's Requiem in the Royal Festival Hall. Future
engagements include Verdi's Requiem in Winchester Cathedral and
Strauss’s Vier Letzte Lieder in Sherborne Abbey. In addition to the
Allegri, Claire’s discography includes the role of The Believer in Rutland
Boughton’s Bethlehem for Naxos, Brahms’ Ein deutsches Requiem with
Jeremy Backhouse and the Vasari Singers for Guild, and the world
premiere of Jonathan Dove’s The Far Theatricals of Day with Nicholas
Cleobury, which has recently been released by Fleet Street Records.
appearedin Orff's Carmina Burana and Rossini’s Petite Messe Solenn lle
among other works. Miss Meister has recorded Bernstein’s Chiche:
Psalms with the Bournemouth Symphony Orchestraunder MarinAlsop
for Naxos, Mozart’s Requiem at the Royal Albert Hali under Sir Davsdzi‘
Willcocks, for Hyperion Records, and Verdi's Requ:em at Canterbury
.
Cathedral under Howard lonascu and later at the same venue under
Richard Cooke.
‘
-
-
Recent successes include her debut at the Royal Festival Hall in the Uk x‘ o ’
premiere of Torsten Rasch’s song cycle Mein Herz Brennt, with the
”
London Philharmonic Orchestra conducted by Vladimir Jurowski.
Future engagements include the title rolein Aida and Ellsabeth
(Tannhduser) (Bayreuth cast), both for Santrago Opera
SOLOIST BIOGRAPHIES
19
Helen Neeves
Susanna Spicer
soprano
mezzo-soprano
Helen Neeves studied music and
One of the first female choral scholars at
performance at the University of York and
Trinity College, Cambridge, Susanna
the Royal College of Music; she is now
studying with Julie Kennard.
Helen has many years’ experience as a
solo and consort singer encompassing
concert work, recordings and radio
broadcasts, particularly in the fields of Baroque and classical music. Her
recent solo engagements include Handel's Jephtha with Eastcote Choral
Society, and Bach’s Christmas Oratorio with the St James’ Singers.
During 2010 Helen took part in Lieder recitals at the National Centre for
Early Music in York; these were part of the University of York’s
'Schumann in Context’ day. She also joined the Theatre of the Ayre for
performances of Blow’s Venus and Adonis in the Wigmore Hall and the
Turner Sims Concert Hall at the University of Southampton.
This year sees various engagements including Handel's Solomon in York
Minster and Dupré’s De Profundis in Neubrandenberg, Germany.
In recent months Helen has sung with various groups including
Yorkshire Baroque Soloists, The Sixteen, The Clerks Group, the Gabrieli
Consort, the BBC Singers and | Fagiolini. Engagements have included
concerts with | Fagiolini in the St Magnus Festival in Orkney and the
Cadogan Hall in London, and a performance of The Clerks” Group new
project, The Hours, in Brighton. Among her many other ensemble
engagements this year, Helen joined The Sixteen in April for a series of
concerts marking the 400th anniversary of Tomas Luis de Victoria.
subsequently studied at the Guildhall
School of Music and Drama and at the
Britten-Pears School in Snape.
A highly experienced concert singer, her
previous engagements in the Royal Albert
Hall have included Handel's Messiah and Mendelssohn’s Elijah for
Sir David Willcocks, and Schubert’s Die Verschworenen with the
Orchestra of the Age of Enlightenment and Nicholas McGegan at the
BBC Proms. Other appearances have included Stravinsky’s Mass with
Simon Rattle and Debussy’s Le Martyre de Saint Sebastien with Kurt
Masur, both for Radio 3 in the Royal Festival Hall, Vaughan Williams’
Serenade to Music with the English Chamber Orchestra at the Queen
Elizabeth Hall, and several performances in the Wigmore Hall.
Susanna sang in Trevor Pinnock’s performances of Bach’s St John and
St Matthew Passions in Europe, Japan and Turkey and has performed all
the major oratorios in the UK’s principal concert halls and cathedrals.
These include Handel's Messiah in Birmingham’s Symphony Hall, Verdi’s
Requiem at The Barbican, Elgar's The Apostles in Winchester Cathedral,
Beethoven's Missa Solemnis in The Maltings, Snape, and Elgar's The
Music Makers and Sea Pictures in Guildford Cathedral. Recent
engagements also include performances of Vaughan Williams’ Five
Tudor Portraits, Britten’s Noye’s Fludde, Elgar's The Kingdom and
The Dream of Gerontius, Tippett's A Child of our Time, Bernstein'’s
‘Jeremiah’ Symphony, Durufle’s Requiem and the Handel oratorios
Theodora, Samson, Saul and Israel in Egypt.
Susanna has also sung for Glyndebourne Festival and Kent Operas and
her recordings include Paul Patterson’s Missa Brevis with the LPO,
Poulenc’s Le Dialogue des Carmelites with Kent Nagano, works by
Britten with The Finzi Singers, Beethoven’s Choral Fantasia and works by
Percy Grainger with John Eliot Gardiner, and Biber's Missa Christi
Resurgentis for Andrew Manze and The English Concert. She has also
recently recorded works by Christopher Gibbons for Richard Egarr and
the Academy of Ancient Music.
20
SOLOIST BIOGRAPHIES
Deborah Miles-Johnson
Adrian Thompson
mezzo-soprano
tenor
A thoroughly established artist, Deborah
Adrian Thompson trained at The Guildhall
Miles-Johnson has worked with most of
School of Music and Drama, where he is
the world’s leading conductors, including
now a professor of vocal studies.
Sir Simon Rattle performing Stravinsky’s
Operatic credits include the title role
Requiem Canticles and Sir Georg Solti in
in Peter Grimes, Monostatos
Mozart’s Don Giovanni in Germany. She
'
has frequently broadcast for the BBC
including the lead role in Handel's Il Parnasso in Festa, whilst De Falla’s
El Amor Brujo with the New London Chamber Orchestra was broadcast
by Classic FM. She performed in Bach’s St Matthew Passion with the
English Concert in concerts around Europe, and in Istanbul and Japan.
She also performed in this work at the prestigious Bachwoche with
Andrew Parrott and the Norsk Barokkorkester.
Her operatic career includes the role of the Old Baroness in the British
premiere of Barber's Vanessa and several performances as Mme.
Popova in Walton’s The Bear in venues around the UK. A recent
highlight was to perform the role of Fricka (Das Rheingold) in concert.
(Die Zauberfléte) and Valzacchi
(Der Rosenkavalier) at the Royal Opera
House; Prologue (The Turn of the Screw) at the Grand Théatre de
Geneve; Erik (Der Fliegende Holldnder) for Opera Zuid; the title role in
Janacek’s The Diary of One who Disappeared at the Aix-en-Provence
Festival and Zivny (Osud) for Garsington Opera; Mr Upfold (Albert
Herring) and Monsieur Triquet (Eugene Onegin) at Glyndebourne, and
Great Convict (From the House of the Dead) at Palermo.
No stranger to contemporary repertoire, he has performed
Lutoslawski’s Paroles Tisées with Oliver Knussen and The London
Sinfonietta, recorded Judith Weir's A Night at the Chinese Opera and
given many first performances of works by British and European
Active in the contemporary repertoire, Deborah Miles-Johnson took
composers. Concert highlights include Janacek’s Glagolitic Mass with
the part of Carolina in Henze's Elegy for Young Lovers for Radio France
the Hallé Orchestra, Elgar's The Dream of Gerontius with the Czech
at 3 days’ notice. Other performances include the premiére of Brian
Philharmonic Orchestra, Beethoven’s Ninth Symphony, Haydn’s The
Elias’s Laments with the BBC Symphony Orchestra, Jean Barraqué’s
Seasons, Verdi's Requiem, Handel's Messiah, Mahler's Das Lied von der
..au dela du hasard with Klangforum in Vienna, Satyagraha by Philip
Erde and the Evangelists of Bach’s St John and St Matthew Passions.
Class at the Royal Festival Hall and one of the secretaries in the first
London performance of John Adams’ Nixon in China with Kent Nagano
and the LSO at The Barbican. She made her Wigmore Hall debut
performing George Benjamin’s Upon Silence with the viol group
Fretwork following performances in Geneva, and subsequently revisited
the Wigmore Hall for a recital with clarinettist Colin Bradbury.
Her commercial recordings include an excerpt from Carmen on Gerald
Finlay’s new recital disc. She has also recorded Arvo Part’s Stabat Mater,
Maxwell Davies’ Resurrection, and Carl Rutti's Magnificat for ASV. She
took the role of Betty Doxy in the Britten/Cay arrangement of The
Beggar’s Opera and one of the Converse in the EMI recording of
An experienced recitalist, Adrian has appeared throughout theUKand
Europe. His discography includes Vaughan Williams’ The_Pilgrjm{sf e
Progress (Chandos), Janacek’s The Eternal Gospel (HYPefiO:Q)};~Waf|§ckg’§i
The Curlew (Collins Classics) and Schubert’s Die Séhéh’é:Mg”éfinfi: . .
(Pickwick).
.
Engagements this season include the roles of Mao (Nixon in'Chinyé') W
Toronto and Esslinger (Die Meistersinger) at Glyndebourne. Subséque‘nt
engagements include Mime (Siegfried) for Nationale Reisopera,
Valzacchi (Der Rosenkavalier) for English National Opera and
Schoolteacher (The Cunning Little Vixen) at the Glyndebourne Festival.
Puccini’s Suor Angelica.
SOLOIST BIOGRAPHIES
21
Colin Campbell
baritone
Michael Bundy
bass
Colin Campbell has appeared as a
Michael Bundy, a graduate of Trinity
concert soloist throughout the UK, in
College, Cambridge and the Guildhall
Europe, the USA and the Far East in
School of Music and Drama, has
repertoire ranging from Monteverdi to
performed widely in diverse genres. He
Tavener. His discography includes record-
has appeared as soloist with The Sixteen
ings on the Hyperion, Decca, Guild, Naxos,
and The Orchestra of the Age of
Philips and Deutsche Grammophon labels.
Enlightenment, and has a continuing
Colin’s operatic repertoire is extensive and he has appeared with Kent
Opera, Pavilion Opera, English Touring Opera, Welsh National Opera,
Aix-en-Provence Festival, Bermuda Festival and the Royal Opera House,
Covent Garden.
Concert performances include Bach’s St John and St Matthew Passions
with Trevor Pinnock and The English Concert, Handel's Messiah in Israel
and Poland; Beethoven’s Leonore at the Lincoln Center New York, the
Salzburg Festival and the Amsterdam Concertgebouw; Mozart’s
Requiem in Santiago de Compostela; Handel's Atalanta at the Halle
Festival; Christus in Bach’s St Matthew Passion in Tampere, Finland, and
in Beijing (Chinese premiére); Mendelssohn'’s Elijah at the Trondheim
Festival, Norway; Brahms’' Requiem at Symphony Hall, Birmingham;
Bach’s B Minor Mass in Japan and Korea under Sir John Eliot Gardiner;
Handel’'s Judas Maccabaeus in Vilnius, Lithuania, with Nicholas
kHMCGegan and Telemann’s Die Grossmut with the Orchestra of the Age
of Enhghtenmentin Magdeburg, Germany. In London he has appeared
the Royal Albert Hall with the Philharmonia Orchestra and King's
relationship with the BBC Singers. His operatic repertoire exceeds
40 roles, with performances for English National Opera, Kent Opera,
Scottish Opera and the Royal Opera House, Covent Garden. His
oratorio repertoire is catholic, and he broadcasts frequently for BBC
Radio 3.
Work with Trevor Pinnock and The English Concert has included Bach'’s
St Matthew Passion in Europe, Istanbul and Japan, and he appeared as
soloist with Sir John Eliot Gardiner and The English Baroque Soloists in
Berlioz' L’Enfance du Christ, Handel's Israel in Egypt (both BBC
promenade concerts), Bach’s B Minor Mass and Haydn’s Nelson Mass.
He broadcast the role of Gobryas in Handel's oratorio Belshazzar with
Robert King and the King’'s Consort, and recently sang Elgar’s The
Dream of Gerontius in Ely and Rochester cathedrals and the Smetana
Hall in Prague. Recent engagements have included a further
performance of Gerontius in the Usher Hall, Edinburgh; future highlights
include Verdi's Requiem in Winchester Cathedral and Elgar's The
Apostles in Arundel Cathedral.
. E'E'Collége Choir iin Vaughan Williams' Fantasia on Christmas Carols; at the
Michael also specialises in French mélodie and has recorded a series of
- f;Queen Elizabeth Hall with the Royal Philharmonic Orchestra in Elgar’s
CDs with Naxos featuring mélodies by the Parisian organists Widor,
eDreamof Geront:us and at Westminster Cathedral with the Bach
- ffiChoxf and the English Chamber Orchestra in Fauré’s Requiem.
- MOréftrec,ehtly he sang
in Marcel Dupré’s cantata De Profundis in
~
Munich with the Bayerische Rundfunk under Marcello Viotti. Colin
~ created the role of Herod in Nigel Short’s opera The Dream of Herod
fl'and subsequently performed the workin Switzerland, Bermuda and the
- UK. He performedin Fauré’s Requiem and Finzi’s In Terra Pax with the
. RPO and Handel’s Mess:ah with the London Festival Orchestra.
22
SOLOIST BIOGRAPHIES
Vierne and Tournemire. He has also published a book, Prophets without
Honour, on the subject. Other recordings include Purcell’s The Fairy
Queen, Chausson’s Le Roi Arthus, Tovey's The Bride of Dionysus and,
recently, Michael Hurd’s opera The Widow of Ephesus. He has a strong
interest in contemporary music, having given the premieres of works
by John Hardy, Eddie McCuire, Cecilia McDowall and Noam Sheriff. In
lighter vein, he has broadcast the roles of Olin Britt (Music Man), Mr
Lindquist (A Little Night Music) and performed live with Sarah Brightman
on BBC Radio 2.
Jeremy Backhouse
conductor
Jeremy Backhouse began his musical
career in Canterbury Cathedral, where he
was Head Chorister, and later studied
music at Liverpool University. He spent
5 years as Music Editor at the Royal
National Institute of Blind People (RNIB),
where he was responsible for the
transcription of print music into Braille. In 1986 he joined EMI Records
as a Literary Editor and from April 1990 combined his work as a
The main thrust of the Society is to ensure that
Mahler’s music is given its rightful place in the
21st century through the education and appreciation
of his life and work, and to support young professional
musicians towards achieving that aim.
Consultant Editor for EMI Classics and later Boosey & Hawkes Music
Publishers with his career as a freelance conductor.
In January 1995, Jeremy was appointed Chorus Master and subsequently Music Director of the Guildford Philharmonic Choir (now the
Vivace Chorus). Jeremy has presented and conducted some ambitious
programmes, including Howell's Hymnus Paradisi and Szymanowski’s
For information on how to join the Society and its
Stabat Mater, Mahler’s ‘Resurrection” Symphony (No. 2) and ‘Symphony
benefits, including
of a Thousand’ (No. 8), Vaughan Williams" A Sea Symphony,
Mendelssohn’s ‘Lobgesang’ (Symphony No. 2), and Prokofiev’s
e concert ticket offers
Alexander Nevsky and Ivan the Terrible. Major classical popular works
e special events
e our own quarterly magazine The Wayfarer
write to us or visit our web site.
most recently, in November 2009, Haydn’s The Creation.
Since 1980, Jeremy has been the conductor of the Vasari Singers,
The Gustav Mahler Society
acknowledged as one of the finest chamber choirs in the country,
performing music from the Renaissance to contemporary commissions.
P.O. Box 39209
Jeremy is totally committed to contemporary music and to the
London SE3 9WD
www.mahlersociety.org
have included Elgar's The Dream of Gerontius, Verdi's Requiem and
email: info@mahlersociety.org
Registered Charity No 10919733
commissioning of new works. He and Vasari have commissioned
over
20 works in their recent history, and this enthusiasm has spread to the
Vivace Chorus who, in May 2009, performed the premiere of their first
commission - local composer Will Todd’s Te Deum.
Photography credits:
Jeremy has also worked with a number of the country’s leading choirs,
Claire Seaton, Susanna Spicer, Deborah Miles-Johnston and
Michael Bundy
by Benjamin Ealovega
including the Philharmonia Chorus, the London Choral Society and the
Elisabeth Meister
by Brian Tarr
Brighton Festival Chorus. For 6 years, to the end of 2004, Jeremy was
Adrian Thompson
by Grzegorz Monkiewicz
Colin Campbell
by Carpenter Turner
the Music Director of the Wooburn Singers, following Richard Hickox
Jeremy Backhouse
by Sim Canetty-Clarke
and Stephen Jackson and in January 2009, was appointed Music
Director of the Salisbury Community Choir.
CONDUCTOR BIOGRAPHY
23
Within the UK, the Orchestra is committed to offering an extensive
regional touring programme, including established residencies in
Croydon, Northampton, Lowestoft, Reading and Crawley. As an
international orchestra, the RPO has toured more than thirty countries
Acknowledged as one of the UK’s most prodigious orchestras, the
in the last five years. Recent tours have included performances in
Royal Philharmonic Orchestra (RPO) enjoys an international reputation
Egypt, Russia, Spain, Italy, Germany, the USA, China and the Far East.
for bringing audiences worldwide first-class performances and the
The Orchestra is also recognised for its artistic work through a vibrant
highest possible standards of music-making across a diverse range of
and innovative community and education programme - titled RPO
musical repertoire. This was the vision of the Orchestra’s flamboyant
resound. Specially trained members of the Orchestra, alongside
founder Sir Thomas Beecham, whose legacy is maintained today as the
accomplished project leaders, provide comprehensive workshops
Orchestra thrives under the exceptional direction of its new Artistic
where music is used as a powerful and inspirational force.
Director and Principal Conductor, Maestro Charles Dutoit.
Frequently found in the recording studio, the Orchestra records
The Royal Philharmonic Orchestra is London-based and performs a
extensively for film and television as well as for all the major
prestigious series of concerts each year at Southbank Centre’s Royal
commercial record companies. The Orchestra also owns its own record
Festival Hall, featuring artists of the highest calibre. The Orchestra’s
label and is proud to be the first UK orchestra to stream its entire series
London home is at Cadogan Hall, just off Sloane Square, where
of concerts live from Cadogan Hall.
concert-goers enjoy an intimate atmosphere in an idyllic location.
Complementing the concert series at Cadogan Hall, the Orchestra
regularly performs in the magnificent Royal Albert Hall, presenting
works of great magnitude designed to suit the immensity of this historic
and grand venue.
24
ORCHESTRA BIOCRAPHY AND INSTRUMENTALISTS
Orchestra photo: Robert Taylor
ORCHESTRA
Alistair Scahill
Cor Anglais
Cameron Todd
Nadine Jurdinski
Leila Ward
Martin Rockall
Stephen Quigley
T
Julie Allen
Martin Owens
}
First Violins
Rachel Robson
Duncan Riddell{
Elizabeth Butler
Iggy Jang
Percussion
Gerald Kirby
Clarinets
Michael Whight
T
Trombones
Judith Templeman
Cellos
Marie Lloyd
Matthew Gee
Harps
Kaoru Yamada
Ben Hughes
T
Kymia Kermani
Richard Watkin
Suzy Willison-Kawalec
Matthew Knight
Emma Ramsdale
Gerald Cregory
Roberto Sorrentino
Naoko Keatley
William Heggart
E-flat Clarinet
Andrew Connington
Andrew Klee
Shinko Hanaoka
Tom Watmough
Anthony Boorer
Kay Chappell
Daniel Hammersley
Anthony Protheroe
Rachel van der Tang
Bass Clarinet
Erik Chapman
Niamh Molloy
Anthony Pike ¥
Russell Gilbert
Rosie Banks-Francis
Jonathan Lee
Piano
Roderick Elms ¥
Bass Trombone
Roger Argente
¥
Celeste
Andrew Waddicor
Joanna Smith
Bassoons
Rosemary Wainwright
Double Basses
Constantin Barcov
Tuba
Harmonium
Rebecca Shorrock
Chris West
T
Christopher Gunia
Kevin Morgan
¥
Alistair Young
¥
Roy Benson
Susana Dias
Second Violins
David Gordon
Shelly Organ
Andrew Storey
T
Benjamin Cunningham
Elen Haf Richards
John Holt
Contrabassoon
Kylie Davis
Simon Davies
Sian Mclnally
Flutes
French Horns
Stephen Payne
Ken Smith ¥
Laurence Davies
T
Cuy Bebb
Julian Coward
Kathryn Saunders
Royal Philharmonic Orchestra Managemenf
Artistic Director and
Charlotte Ansbergs
Timpani
Organ
Matt Perry
John Birch
Crahame King
Mandolin
Nigel Woodhouse
Jennifer Christie
Charles Nolan
Joanne Marsh
Phil Woods
Sophie Cameron
Lianne Barnard
Andrew Fletcher
Colin Callow
Rebecca Larsen
Samuel Jacobs
Violas
Managing Director
Jonathan Bareham
Finance Director
Piccolos
Hugh Seenan
Concerts
Helen Keen
Richard Stroud
Concert
Jennifer Dear
Ilkuko Sunamura
Principal Conductor
Rebecca Larsen
Liz Varlow
Trumpets
Andrew Sippings
Oboes
Brian Thomson
Esther Harling
Tim Watts
¥
Adam Wright
Kathy Balmain
Nicky Holland
Mike Allen
Laura Holt
Adrian Rowlands
Niall
onathan Hallett
Helen Barker
Keatle
Charles
lan
‘
Vivace Chorus
Beauvais. Following this great success, the choir is planning a
similar tour to the beautiful cities of Strasbourg, Freiburg and
Chorus
The choir was founded in 1947 as
the Guildford Philharmonic Choir
but in May 2005, to reflect its new
independent status from the
Borough of Guildford, 'rebranded’ itself as the Vivace Chorus. We
Heidelberg in June 2012.
If you are interested in singing with us, please contact our
Membership Secretary, Jane Brooks, on 01483 539088.
For more information, see our website at www.vivacechorus.org.
enjoy a challenging and varied repertoire from the 16th century
Keep up to date with the Vivace Chorus by joining our
onwards; some pieces are well-known, others are rarities
Facebook fan page [fj and following us on Twitter.
[}
deserving to be heard by a wider audience.
Our 2008/9 season, which included a spectacular performance of
Verdi's Requiem with our twin choir, the Freiburger Bachchor,
and Romsey Choral Society, culminated with Will Todd’s
Te Deum - a world premiére and first commission by the choir,
Vivace Chorus
President:
Sir David Willcocks CBE MC
Music Director:
Jeremy Backhouse
Accompanist:
Francis Pott
Chairman:
James Garrow
The 2009/10 season started in lively fashion with Haydn’s
Soprano 1
Soprano 2
The Creation, to mark the 200th anniversary of the composer’s
Joanna Andrews
Jacqueline Alderton
Barbara Barklem
death. Our Italian evening in March showed the operatic
Helen Beevers
Anna Arthur
Penny Baxter
Monika Boothby
which we recorded last summer and have released on CD.
[Copies are available to purchase tonight.]
Alto 1
composers Verdi and Puccini in a light new to many and, lastly,
Mary Broughton
Alison Dawson
we brushed up our Russian pronunciation, returning to Prokofiev,
Elaine Chapman
Mandy Freeman
Susie Briars
this time with Ivan the Terrible.
Marie Collins
Nola Cyles
Jane Brooks
We began this season with Rossini’s Petite Messe Solennelle -
Sara Dann
Emma Hicks
Margaret Dentskevich
perhaps somewhat inaccurately named as it is neither petite, nor
Rachel Edmondson
Jane Kenney
Liz Durning
_indeed very solennelle. The choral singing was described as "“a
Calli Hayes
Krystyna Marsden
Sue Fletcher
~ triumph”. Then straight after our ‘Broadly Baroque’ concert
(ranging from Allegri's Miserere to Handel's Dixit Dominus) we
Mo Kfouri
Debbie Morton
Jane Hedgecock
Christine Lawley
Alison Palmer
Joan Hester
Maggie Martelli
Arlene Robertson
Sheila Hodson
ve worked on tonight's concert, our biggest project to date.
o lnfaddltlon to our own concert programme, we have, for several
~ years, appearedin a ‘Last Night of the Proms’ charity concert in
-
the Fairfield Halls, Croydon, and regularly sing at the Mayor of
o :Gurldford’s annual carol concert. We also sing at least once a
~
yearin the,superb venue of St Martin-in-the-Fields with the
Brandenburg Sinfonia.
-
Trips abroad have included visits to Freiburg, Germany, to sing
~ with the Freiburger Bachchor and in June 2009, to France, where
~we gave concerts of music from the early 16th to late 20th
~ centuries in the cathedrals of Paris (Notre Dame), Rouen and
26
CHORUS BIOGRAPHY AND SINGERS
Katharine Medlow
Isobel Rooth
Isabel Hyde
Susan Norton
Ann Sheppard
Alexandra Kenna
Margaret Parry
Judy Smith
Pamela Leggatt
Margaret Perkins
Paula Sutton
Jean Leston
Kate Rayner
Zowie Sweetland
Judith Lewy
Gillian Rix
Philippa Walker
Margaret Mann
Carol Terry
Susan Waton
Lois McCabe
Nikki Vale
Christine Wilks
Kay McManus
Sally Varley
Frances Worpe
Christine Medlow
Rosalind Milton
Mary Moon
Rosey Storey
John Duke
Philip Stanford
Andrea Dombrowe
Pamela Usher
Geoff Johns
Ed Varley
Celia Embleton
June Windle
Stephen Linton
Kieron Walsh
Karen Prodger
Elizabeth Evans
Elisabeth Yates
Peter Norman
Lesley Scordellis
Trisha Fletcher
Penny Muray
Mary Clayton
Gill Perkins
Gillian Pickering
Jon Scott
Bass 2
Catherine Shacklady
Hazel Freeston
Tenor 1
Diana Shilham
Valerie Garrow
Dan Burges
Bass 1
Roger Barrett
Marjory Stewart
Jo Glover
Bob Cowell
Phil Beastall
Alan Batterbury
Jane Sweaney
Margaret Grisewood
Tim Hardyment
John Britten
Norman Carpenter
Hilary Trigg
Barbara Hilder
Nick Manning
Michael Golden
Dave Cox
Maggie Woolcock
Carol Hobbs
Martin Price
Brian John
Ceoffrey Forster
Fiona Yeomans
Yvonne Hungerford
Chris Robinson
Jeremy Johnson
James Garrow
Mary King
John Trigg
Jonathan Long
Stuart Gooch
Alto 2
Janet Lansdale
Valerie Adam
Brenda Moore
Geraldine Allen
Simon Backhouse
Eric Kennedy
Nick Gough
Tenor 2
Chris Newbery
Michael Jeffery
Jacqueline Norman
John Bawden
Paul Newis
Neil Martin
Hannah Andrews
Beryl Northam
Bob Bromham
Adrian Oxborrow
John Parry
Evelyn Beastall
Sheila Rowell
Peter Butterworth
Chris Peters
Roger Penny
Sylvia Chantler
Prue Smith
Tony Chantler
Robin Privett
Michael Taylor
Ailis Clarke
Jo Stokes
David Ross
John Yeomans
salisbury
community
choir
Tonight's conductor, Jeremy Backhouse, is the musical director of the 200 voice Salisbury Community Choir.
We will be taking part in the world premiere of Where Two Worlds Meet, composed by Howard Moody and Helen
Chadwick. Performed in the massive, magnificent setting of Salisbury Cathedral, the concert forms part of the
Salisbury International Arts Festival.
Saturday 21st May 2011
For more details go to
www.salisburyfestival.co.uk
Salisbury Community Choir is one of the UK's largest open access choirs. Find out more at
www.salisburycommunitychoir.co.uk
President: Sir Roger Norrington. Patrons: Bob Chilcott, Malcolm Goldring, Karl Jenkins, John Rutter, Scott Stroman
Registered Charity Number 109033
CHORUS BIOGRAPHY AND SINGERS
7
’2 LSC
%
.
London
Symphony Chorus
access to rehearsals with a number of world renowned orchestral
Since its formation in 1966 the London
$ Symphony Chorus has consolidated a
‘
broad repertoire and has commissioned
works from Sir John Tavener, Sir Peter
conductors.
The London Symphony Chorus is always interested in recruiting
new members, welcoming applications from singers of all
backgrounds, subject to an audition. Open Rehearsals are also
being held for those who might be interested in auditioning. For
further information, call Helen Lawford, Auditions Secretary, on
Maxwell Davies, Michael Berkeley and
020 8504 0295 or visit www.Isc.org.uk
Jonathan Dove. The Chorus also took part in 2008 in the world
premiere of James MacMillan’s St John Passion with the LSO and
London Symphony Chorus
Sir Colin Davis, and in the second London performance in
President:
Sir Colin Davis CH
February 2010.
President Emeritus:
André Previn KBE
As well as appearing regularly in the major London venues, the
Vice Presidents:
Claudio Abbado; Michael Tilson Thomas
LSC tours extensively throughout Europe and has visited North
Patron:
Simon Russell Beale
America, Israel, Australia and the Far East. Tours in 2009 included
Chorus Director:
Joseph Cullen
Luxembourg, Eire, Rome and Valencia. Plans for the 2010-11
Chairman:
James Warbis
season include concerts with the LSO, BBC Philharmonic
Accompanist:
Roger Sayer
Orchestra and the RPO.
The Chorus has a discography of over 140 recordings. Recent
Sopranos
Emily Hoffnung*
Mikiko Ridd
releases include the world premiere of MacMillan’s St. John
Kerry Baker
Cladys Hosken
Melissa Scott
Passion, Haydn'’s Creation, Verdi's Requiem and Otello, all under
Heather Bingham
Claire Hussey
Bridget Snasdell
Amanda Thomas*
Carol Capper
Sarah lllingworth
The
Julia Chan
Debbie Jones*
Sian Thomas
gentlemen of the Chorus are proud to have taken part in the
Ann Cole
Helen Lawford*
Jenny Thomas
Vicky Collis
Debbie Lee
Zoe Williams
Debra Colvin
Meg Makower
Sir Colin Davis. The Chorus also partners the LSO on Valery
~ GergieV's recordings of Mahler's Symphonies 2, 3 and 8.
ew
Gramophone award-winning recording of Wagner's
rddmmerung with the Hallé under Sir Mark Elder.
:'mg special links with the LSO, the Chorus has
rmc;pal UK orchestras including the
yyal Philharmonic, the Orchestra of the Age
' of Birmingham Symphony Orchestra,
,':’he&lf{allé and the BBC National
Altos
Shelagh Connolly
Irene McCGregor
Lucy Craig
Marta Lozano Molano
Katherine Bleazard
Emma Craven
Eva Moreda
Gina Brodeick*
Sara Daintree
Jane Morley
Lizzy Campbell
Anna Daventry
Dorothy Nesbit
Cheng-Ying Chuang
Lorna Flowers
Jenny Norman
Rosie Chute
Eileen Fox
Emily Norton
Liz Cole
Sonja Frohling
Maggie Owen
Janette Daines
Rachel Gibbon
Isabel Paintin
Zoé Davis
Helen Cilheaney
Andra Patterson
Maggie Donnelly
Joanna Gueritz
Ann Pfeiffer
Linda Evans
Sue Pollard
Lydia Frankenburg*
is
L 47'}95$ica Harr
Liz Reeve
* denotes member of
Geoff Newman
Christina Gibbs
Maud Saint-Sardos
Tony Instrall
Yoko Harada
Lis Smith
Francis Letschka
Basses
Amanda Holden
Thérese Smith
John Marks
David Armour
Peter Niven
Jo Houston
Jane Steele
Simon Marsh
Bruce Boyd
Montague Ring
Elisabeth lles
Margaret Stephen
Alastair Mathews
Nicholas Brown
Nic Seager
Sue Jones
Claire Trocmé
John Moses
Steve Chevis
Ed Smith*
Vanessa Knapp
Curzon Tussaud
Malcolm Nightingale
James Chute
Martin Vallas
Agnes Vigh
Daniel Owers
lan Fletcher
Jez Wareing
Stuart Packford
Robert French
Nick Weekes
Paul Wright
Gilly Lawson
Sue Lee
Mimi Zadeh
Selena Lemalu
Magdalena Ziarko
Belinda Liao
William Nicholson
Rik Phillips
Robert Garbolinski*
Mattia Romani
John Graham
Anne Loveluck
Tenors
John Slade
Jean-Christophe Higgins
Barbara Marchbank
David Aldred
Graham Steele
Robin Hall
Liz McCaw
Paul Allatt
Takeshi Stokoe
Owen Hanmer*
Caroline Mustill
Robin Anderson
Richard Street
Christopher Harvey
Siu-Wai Ng
John Farrington
John Streit
Derrick Hogermeer
Alex O’Shea
Matthew Flood
Malcolm Taylor
Anthony Howick
Helen Palmer
Andrew Fuller*
Owen Toller
Alex Kidney*
Susannah Priede
Simon Goldman
James Warbis*
Thomas Kohut
Lucy Reay
Stephen Hogg
Brad Warburton
Cregor Kowalski*
Clare Rowe
Warwick Hood
Robert Ward*
Georges Leaver
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‘one of the world’s finest choirs’
Music Web International
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Southbank Sinfonia
ol
RS
5
§
conducted by
Tuesday 8 November 2011 at 7.30 pm
Jeremy Backhouse
St Martin-in-the-Fields
Tickets: £22, £16 & £10
Trafalgar Square London WC2N 4JJ
Box Office: 020 7766 1100 Online: www.smitf.org
V)z
£
THE
LONDON
LCHORUS
The London Chorus
groups for corporate or social events. Please contact Prue Corp,
The London Chorus is London’s most
Concert Manager, on 07710 275331 or the Choir Administrator,
versatile choir, practising and per-
Hannah Williams, on 07962 064018.
forming a challenging and varied
Musical Director
The London Chorus is available for hire for concerts or in smaller
repertoire and continually developing
RONALD CORF " its tradition of excellence. Since its
foundation in 1903 to give the first
London performance of The Dream of Gerontius, it has
performed in all the major London venues as well as concert
halls in the UK and abroad, and made many successful
recordings with The New London Orchestra for Hyperion
Records. The choir works for a variety of promoters and with
major orchestras and ensembles.
The London Chorus is very pleased to be joined by new
members, who are guaranteed a hugely varied programme and a
warm welcome. To arrange an audition or to find out more
about the choir and future concerts please visit our website
www.londonchorus.org.uk
The London Chorus is a registered charity No. 271402
The London Chorus
Patron:
His Royal Highness
The Duke of Gloucester KG GCVO
In recent seasons performances have included Bach’s St Matthew
Musical Director:
Ronald Corp
Passion, Mozart's C minor Mass, Handel's Israel in Egypt, Berlioz’
Chairman:
Graham Anderson
Te Deum, Video Games Live, The X Factor for ITV, three charity
Accompanist:
Alexander Wells
concerts of African music, music for the Queen’s Birthday Party
at the British Embassy in Tallinn, Christmas music in The Long
Room at Lord’s and Handel's Coronation Anthem:s.
Soprano 2
Hilda Breakspear
Ros Anderson
Last season’s concerts included Brahms’ Requiem, the world
Yvette Caster
Gillian Clarke
premiere of Corp’s The Hound of Heaven and Handel's Messiah
Vivienne Dunwoody
Melissa Clarke
at Cadogan Hall, The Glory of Christmas at The Royal Albert Hall,
Clara Eriksson
Celia Flanigan
Rachmaninov’s Vespers at St Alban’s, Holborn, and African
Gill Evans
Jane Gregory
Sanctus at St Martin-in-the-Fields.
Lucinda Cosling
Floriane Hentsch
e
hOH’ have touredin Italy, France and Estonia, andin April of
earl‘The London Chorus went to South Africa to sing
veraljconcertsin Cape Town, including Vaughan Williams’
A Sea Symphony, they also joined African choirs in Soweto and
Johannesburg
in association with the African children’s charity
ootballs For Fun’. Back in London, the choir is delighted to
- perform today in Mahler’s Symphony No 8. The choir will be
fi f‘;;,s:ngmg Orff's Carmina Burana in The Royal Festival Hall in July
~and Verdi's Requzem in Beverley Minsterin September.
‘ "",Recordmgs with The New London Orchestra and Ronald Corp
-
Soprano 1
are a regular feature in the choir’s calendar; the latest releaseis
Rutland Boughton’s The Queen of Cornwall.
Jill Guest
Lydia Jones
Patricia Harris
Margaret McKinlay
Sue Haycock
Anne Nott
Hilary Lock
Carolyn Pascall
Jean Long
Sophya Polevaya
Lana Mallon
Valerie Thompson
Marie Myerscough
Clare Vincent-Silk
Debbie Slade
Sue Vincent
Alto 1
Stephanie Waggoner
Helen Bretherick
Angela Wardle
Melanie Brown
Hannah Williams
Jennifer Carey
Liz Carrey
Veronica Cazzuola
30
CHORUS BIOGRAPHY AND SINGERS
Sarah Cox
Alto 2
Donald Skinner
Philip Whalley
Erica de Courcy
Prue Corp
Tom Stone
Anthony Wills
Nicky Dean
Caroline Fewkes
Michael Strachan
Quima Farre
Chrissie Grant
Bass 2
Letitia Graham
Katie Hasler
Tenor 2
Jann Grant
Jill Holland
Chris Beels
David Bressloff
Roger Dean
Hannah Horsburgh
Sue Nott
Reynold Charley
John Hammond
Anne Howick
Jocelyn Ridley
Andrew Frankl
Jonathan Harbourne
Susan Jupp
Alison Rudge
John Rymell
Douglas Jupp
Beryl Kessel
Katherine Sells
Sean Spurvey
Eric Ollington
Angela Mendis
Sarah Tozer
Peter Tanner
David Roe
Debbie Phelan
Peggy Watson
Peter Sells
Bass 1
Liz Roe
Luzia Sebesta Schmid
Tenor 1
Peter Cheshire
Anne Stoddart
Mike Brown
Hugh Closs
Marilyn Wales
Mark Damerell
Jeremy Colwill
Katharine Young
Marc Doe
John Somerville
David Lewitt
David Stanton
Chris Phelan
Fergus Urquhart
Join as a singer, friend or supporter and be part
of our exciting 2011-2012 season, including:
May 15
Mahler ‘Symphony N2 8’
Royal Albert Hall
July9
Orff ‘Carmina Burana'
Royal Festival Hall
Sep17
Verdi ‘Requiem’
Beverley Minster, Yorkshire
Dec4
Vaughan Williams ‘Sea Symphony’
St. John's, Smith Square
For further information, please contact any member of our team:
Please help
London’s disadvantaged
children and young people
by supporting Tom’s Trust
Find out how we help young people and
For engagements please contact our Concert Manager
support our work by visiting our website
Prue Corp on 0844 5876482 or prue@londonchorus.org.uk
Follow us on Facebook: London Chorus. If you would like to be reminded of our next concert,
please subcribe at the following address: TLCEvents-subscribe@yahoogroups.com
www.tomstrust.com
Donated anonymously
Romsey Choral Society
Romsey Choral Society
Patron:
Lady Brabourne
The Romsey Choral Society was founded in
Musical Director;
David Truslove
1981 and presents four concerts a year, at
Chairman:
Joan Robinson
least two of which are in Romsey Abbey.
Accompanist:
Richard Scott-Copeland
organists and orchestras, the Society
First Sopranos
sustains a challenging and adventurous
Myra Clover
Jean Hunter
Patricia Hilton-Robinson
Kaz Huxley
Jenny Mills
Cheryl Irons
Wendy Stafford
Helen King
Kath Tilling
Working regularly with professional soloists,
programme and in 1996, following the British premiere of Max
Bruch’s Crdiss an die Heilige Nacht, the choir received a
Performing Right Society Enterprise Award.
As well as performing many of the standard choral favourites, the
Gill Pentney
Society frequently explores less familiar repertoire and has
Linda Stafford
championed works by several British composers including
Karen Trewinnard
First Tenors
Peter Coulson
John Niblett
Howard Blake, Brian Chapple, Patrick Gowers, Tarik O’'Regan and
Will Todd. Recent concerts have included performances of
Second Sopranos
Rachmaninov’s All-Night Vigil, Holst's The Hymn of Jesus, Karl
Sarah Andrews
Peter Phillips
Jenkins” The Armed Man, Monteverdi’s Vespers of 1610, Vaughan
Natalie Carr
Williams” A Sea Symphony, Handel's Israel in Egypt, and Bach'’s
Sarah Cornforth
Clive Collier
St John Passion. The choir has also given collaborative
Janet Féat
John Dover
performances in Guildford Cathedral (Verdi Requiem) and
Anne Goodswen
Andy Holton
Chester Cathedral (The Dream of Gerontius) and in Europe
Liz Holton
Craig Lawton
Romsey Choral Society has sung in Belgium, France, Germany
Helen Jeanes
Jim Sampson
and Holland.
Julia Loescher
s conductor, David Truslove, read for a degree in Music
ity, and studied singing with the counter-tenor
don. After a post-graduate teaching year
y sang with the choir of York Minster,
hael’s College, Tenbury, and later
d an interest in singing and
conducting Romsey
ithedral Choir,
Rosemary Powell
Second Tenors
First Basses
Chris Green
First Altos
Clive Marks
Julie Carlton
lan Nichols
Julia Dean
Charles Peebles
Ursula Gentle
John Tilling
Kaarina Manzur
Joan Robinson
Second Basses
Jane Stephens
David Clarke
Jenny West
David Litherland
Bob Ormiston
econd Altos
Ross Valentine
Romsey Choral Society
Your next opportunity to hear
Romsey Choral Society will be
at the opening concert of the
Romsey Arts Festival on
Saturday, 2nd July, in Romsey
Abbey, when they will be singing Britten’s St Nicolas and
N A L
‘THE PUEEESSEEE
IS
T
DEVELOPMEN
OUTSTANDINGLY
WELL DEVELOPED
Mozart’s Requiem.
A more informal event will take
place the following week, on July 9th, when members of the
choir will be performing for the first time at Romsey’s
Beggars Fair - a free festival of music, dance and street
entertainment. To find details of both these events and
visit
choir
the
about
information
other
www.romseychoral.org.uk.
During 2010, members of the choir enhanced the special day
for several local couples by singing at their weddings. For a
reasonable fee Romsey Choral Society can provide experienced singers for weddings, funerals or other
special services that require a good quality choir. We have
Winchester,
in
churches
at
sung
recently
Fordingbridge and Ampfield, among others.
We particularly welcome membership enquiries from
singers who possess strong, musical voices and who can
show enthusiasm and commitment. Previous choral
experience and the ability to read music are preferred; a
brief informal audition will take place during the first term
with the musical director.
The next two open rehearsals, when interested singers can
join us for the evening without any long-term
commitment, are 17th May 2011 for an evening of Mozart’s
Requiem and September 13th 2011 for Handel's Messiah.
Rehearsals take place in Romsey on Tuesday evenings, and
prospective members may obtain further details from our
O P EN SATURDAY 8TH OCTOBER 2011
MORNING
NOW TAKING REGISTRATIONS FOR SEPTEMBER 2012 ONWARDS
GUILDFORD CATHEDRAL CHOIR SCHOOL AND
THE PREPARATORY SCHOOL OF THE ROYAL GRAMMAR SCHOOL
BURSARIES ARE AVAILABLE FOR 7 + ENTRY
== Lanesborough
fons
e/
B
membership secretary at
membership@romseychoral.org.uk
CHORUS BIOGRAPHY AND SINGERS
33
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currently singing in the choirs of Jesus, King’s and St John's
Since its foundation in 1957, the Tiffin
Colleges in Cambridge, and Exeter, Magdalen and Oriel Colleges
Boys’ Choir has been one of the few
: : : ;)
TM
Tiffin Boys’ Choir
-
state school choirs to have been
continually at the forefront of the
choral music scene in Britain.
The choir has worked with all the
London orchestras and performs
regularly with the Royal Opera. Recent engagements have
included critically acclaimed performances of Carmen (Pappano),
A Midsummer Night's Dream (Hickox) and Tannhduser (Bychkov),
Boris Godunov with the Bolshoi Opera, Hansel und Gretel (Sir
Colin Davis), performances of Britten’s War Requiem with
Pappano, Mahler’s Third Symphony with Maazel, and a series of
a capella concerts at the Spoleto Festival and in the Baltic States.
The choir enjoys a partnership with the London Mozart Players,
in Oxford.
Tiffin Boys’ Choir
Director of Music:
Simon Toyne
Jay Acharya
Joe Mills
William Andrews
Tom Mitchell
William Appleby
Arthur Morris
Ollie Appleby
Tom Newsome
Eamon Broderick
Peter No
Gabriel Brookes
Edward Offer
Alex Cavenagh
Jack Parker
Michael Crisan
Karlis Pauzers
Jamie Crooks
Daniel Riding
Tobias Dalhaus
Prannay Roy
Kit Davey
Thomas Rushton
Jakob De Menezes Wood
Thomas Saleh
The choir has made recordings of most of the orchestral
David Dunkling
Parampal Sampal
repertoire that includes a boys’ choir. Notable releases have
Thomas Dunne
Saarthak Saxena
included Mahler’s Eighth Symphony (EMI/Tennstedt), which was
Laurence Ellis
Hugo Schuler
Jong-Hoon Seo
performing most recently in Haydn’s Creation and the Fauré and
Duruflé Requiems.
nominated for a Grammy Award, Puccini’s Il Trittico and Tosca
Stefan Frost
(EMI/Pappano), Massenet’s Werther, Britten’s Billy Budd
Jamie Glancy
Rahul Sharma
(Chandos/Hickox), Mahler’s Third Symphony (LSO Live/Gergiev
Joe Gooding
William Sharp
‘and Telarc/Zander), and Britten’s War Requiem (LPO Live/Masur).
‘Members of the choir feature in DVD releases of Carmen, La
Gurnam Grewal
Gian Shori
Daniel Henderson
Robert Singleton
Yusuf Jackson
Michael Smith
Edwin Jarratt-Barnham
Akilesh Sreecumar
Dominic Jones
Matthew Stevenson
BOhéme, Tosca and Hdnsel und Gretel from the Royal Opera
- House.
~ Future engagements include Fauré’s Requiem at St James's
Marek Kaczmarski
Ben Studdert
Hugo Khan
Euan Traynor
Anish Khanna
Edan Umrigar
Alexander Kirkup
Daniel Vorley
in Kingston-upon-Thames, described by OFSTED as
Jonghyeon Lee
Hugo Whitaker
““exceptional”. The majority of the 1,200 boys in the school play a
Thomas Martis-Jones
Piccadilly (28th May), Britten’s A Midsummer Night's Dream in
Oviedo, and a concert tour of Australia in July/August 2011.
Tiffin School is a state grammar school and specialist Arts College
musical instrument, and over 100 boys study Music at GCSE and
A Level. Several members of the choir have gained university
Lists of instrumentalists and singers in this programme were correct at
choral scholarships on leaving Tiffin: there are ex-Tiffinians
the time of going to press.
34
CHORUS BIOGRAPHY AND SINGERS
highgate choral society
World premiere of
written in homage to Mahler
by Ronald Corp
a setting of poems written by Mahler for 16 award-/
winning soloists from Musicians BenevolentFundi
Ronald Corp And All the Trumpets Soune
Orff Carmina Burana
Saturday 9 July 2011 7' 30p
Ronald Corp conductor
New London Orchestra
Highgate Choral Society
The London Chorus
New London Children’s Choi
Claire Rutter soprano
Mark Wilde tenor
Mark Stone baritone
‘So you want to be a composer’
Tickets £40 — £8
concessions 50% off
A concert for all the family presented by the
in association with
London Mozart Players
Benevolent
Fund
Saturday 21 May 2011 at 6.00 pm
St Luke’s Church, Thurleigh Road, London SW12 8RQ
Tickets: £10.00 (concessions £5.00)
More information and Box Office : www.slms.org.uk
Musnci;ns
“music and drama
are first class’
Leading independent day school for boys aged 11-18
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