Carl Orff
Vaughan
Williams
The Brandenburg Sinfonia
Farnham Youth Choir
Conductor: Jeremy Backhouse
Guildford
Founded 1509
Leading independent day school for boys aged 11 - 18
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Vaughan Williams
Five Tudor Portraits
Orff
Carmina Burana
Rosalind Coad
Soprano
Claire Barnett-Jones
Mezzo-soprano
John-Colyn Gyeantey
Tenor
Gareth Brynmor John
Baritone
Farnham Youth Choir
Brandenburg Sinfonia
Conductor: Jeremy Backhouse
Please note: Flash photography, audio and video recording are not
permitted without the prior written consent of the Vivace Chorus. Please also
kindly switch off all mobile phones and alarms on digital watches. Thank you
This evening's concert offers two immensely boisterous and musically
colourful works for soloists, chorus and orchestra, composed by wellknown English and German composers who were both born in the late
19th century and wrote this evening’s music in the mid-1930s. These two
works enjoy vigorous and lively choruses — there are many in the popular
Carmina Burana and the opening one in Five Tudor Portraits must surely
be the best representation of a riotous pub scene ever composed — and
there is a marvellous selection of beautifully lyrical solos and choruses in
both works which provide ideal contrast to the rich variety of exhilarating
numbers.
The pre-concert talk this evening is given by the singer, choral conductor
and singing teacher, Roy Rashbrook. Roy is a member of the choir of St
Paul’'s Cathedral, singing also with The King’s Consort and The Clerks,
an ensemble specialising in late Medieval and early Renaissance music.
Vaughan Williams: Five Tudor Portraits
Ralph Vaughan Williams was born at Down Ampney in Gloucestershire
in 1872 and died in London in 1958 at the age of eighty-five. However,
he spent most of his life in the Dorking and Leith Hill area — he was
principal conductor of the Leith Hill Music Festival from 1905 to 1953.
Although he was descended from a family of lawyers, he was
encouraged to develop a keen interest in music in his early years and
while he was at Charterhouse he changed from playing the violin to the
viola and played in the school orchestra. This was followed by periods at
the Royal College of Music and Trinity College, Cambridge, and
subsequent learning with Max Bruch and Maurice Ravel. This was
followed by a fervent studying of English Folksong and a friendship with
Gustav Holst, which set the seal on his composing skills, the height of
which had not been established at an earlier time.
The music of Vaughan Williams covers a wide range. There were nine
symphonies as well as other orchestral works including the intensely
moving Fantasia on a Theme by Thomas Tallis, concertos, chamber
music and a fair amount of film music (including the score for Scott of the
Antarctic, which contained material he later turned into his seventh
symphony, Sinfonia Antartica). His vocal music included a large number
of songs, music for the stage such as the operas Sir John in Love and
The Pilgrim’s Progress, church music and large-scale works for soloists,
chorus and orchestra such as Dona Nobis Pacem, Sancta Civitas and
Five Tudor Portraits.
This highly enjoyable work dates from 1935 and was first performed at
the Norwich Festival in September 1936. Vaughan Williams chose text
2
Vivace Chorus
from the late 15th century poet, John Skelton. Many of Skelton’s poems
concentrated on the world of religion, but he also went to other extremes
and it is obvious that Vaughan Williams’ colourful suite Five
Tudor
Portraits is based on his more humorous and bawdy material.
Five
Tudor Portraits is scored for contralto
tonight),
baritone,
chorus
and
orchestra
and
(or mezzo-soprano,
consists
of five
as
well-
contrasted movements. The first movement The Tunning of Elinor
Rumming presents a rowdy ale-soaked pub scene, presenting a vivid
picture of the owner of the alehouse and local Leatherhead resident,
Elinor Rumming, now well worn in age, her skin loose and slack and her
face all bowsy. She makes a living out of brewing nappy ale (a strong
ale) and selling it off to travellers and many other keen ale-drinkers. The
chorus give a wildly exuberant representation of this colourful dame and
then the contralto soloist takes over (the singer could benefit from a drink
or two before her solo!) and paints a musical picture of ‘drunken Alice’.
After the entertaining solo, Alice nods off and the chorus join in again to
recreate the atmosphere of the riotous pub scene.
The mood changes in the second movement to the setting of a tender
Skelton poem and some of Vaughan Williams’ most beautiful music. In
My Pretty Bess the baritone soloist, in a gentle allegretto grazioso, calls
for his lovely Bess to turn once again to him. ‘Mine heart is with thee’ is
his plea and the chorus echo his tuneful phrases with great effect. There
is a more robust nature to the following movement Epitaph on John
Jayberd of Diss set for male chorus. The text is a mixture of Latin and
English and portrays a totally dislikeable clerk whose death no one can
be bothered to mourn. Thank goodness he's
represented in the nature of this raucous piece.
The fourth movement,
gone’
is
strongly
a compassionate /ento for solo contralto and
female chorus, also involves someone’s death, but this one is sorely
missed — Philip is his name and he was the pet sparrow of Jane Scroop.
Gib, the cat, slew him and gobbled him up, and Jane is now in a lengthy
period of lamentation. This is the most extended movement in The Five
Tudor Portraits as Jane sings of her friendly sparrow who ‘would seek
after small wormes' and ‘prettily would pant, when he saw an ant’. After
she sings of her sparrow memories, the music changes to represent
Philip’s funeral, which features Dies irae and a powerful Libera me and
this Romanza closes with soloist and chorus singing a tender farewell to
the much-loved sparrow. The baritone soloist takes over for the final
portrait, Jolly Rutterkin — a boisterous ending to the Five Tudor Portraits
— and is joined by the chorus in this swinging portrayal of a dashing
young fellow.
Vivace Chorus
9
I. The Tunning of Elinor Rumming - mezzo-soprano and chorus
For the green bare threadés
Look like sere weedés,
Withered like hay,
And let us slay care’.
Of a comely Jill
The wool worn away.
That dwelt on a hill:
Come who so will
To Elinor on the hill
She is somewhat sage
And yet, | dare say
She thinketh herself gay
With “Fill the cup, fill!”
And well worn in age:
Upon the holiday
And sit there by still,
For her visage
When she doth her array
Early and late.
It would assuage
And girdeth on her geets
Thither cometh Kate,
Tell you | will,
If that ye will
A-while be still,
and
pranked
with
As wise as an hare!
Cisly, and Sare,
A man's courage.
Stitched
Droopy and drowsy,
pleats;
With their legs bare,
Scurvy and lowsy,
Her kirtle, Bristol-red,
They run in all haste,
Her face all bowsy,
Comely crinkled,
With clothes upon her head
Unbraced and unlaced;
With their heelés daggéd,
That weigh a sow of lead,
Writhen in wondrous wise
Wondrously wrinkled
Like a roast pig's ear,
Their kirtles all jaggéd,
Their smocks all to-raggéd,
Bristled with hair.
After the Saracen's guise,
With a whim-wham
Her nose some deal hooked,
Knit with a trim-tram
Bring dishes and platters,
And camously-crookéd,
Upon her brain-pan;
With all their might running
Never stopping,
Like an Egyptian
To Elinor Rumming
But ever dropping;
Cappéd about,
To have of her tunning.
Her skin loose and slack,
When she goeth out.
With titters and tatters,
She
Grained like a sack;
lendeth
them
on
the
With a crooked back.
And this comely dame,
same,
Jawed like a jetty;
| understand, her name
Is Elinor Rumming,
And thus beginneth the game.
A man would have pity
To see how she is gumméd,
Fingered and thumbéd,
Gently jointed,
Greased and anointed
Some wenches come unlaced
At home in her wonning;
Some
And as men say
She dwelt in Surrey
unbraced
housewives
come
Up to the knuckles;
Beside Leatherhead.
Some be flybitten,
Some skewed as a kitten;
Some have no hair-lace,
Like as they were with buckles
Together made fast.
She is a tonnish gib,
The devil and she be sib.
Their locks about their face
Such a rude sort
In a certain stead
To Elinor resort
Her youth is far past!
From tide to tide,
In her furréd flocket,
But to make up my tale
She breweth nappy ale,
And maketh thereof pot-sale
To travellers, to tinkers,
And gray russet rocket,
To sweaters, to swinkers,
To Maud and to Mold.
With simper and cocket.
And all good ale-drinkers,
Some have no money
Her hood of Lincoln green
That will nothing spare
It has been hers, | ween,
But drink till they stare
And bring themselves bare,
That thither comé
For their ale to pay.
That is a shrewd array!
Elinor sweared, “Nay,
And yet she will jet
Like a jollivet,
More than forty year;
And so doth it appear,
4
2
With “Now away the mare! 2
Abide, abide!
And to you shall be told
How her ale is sold
Vivace Chorus
Ye shall not bear away
Mine ale for nought,
‘With Hey! and with Ho!
Sit we down a-row,
By him that me bought!*
And drink till we blow.”
Glossary
camously-crookéd
snub-nosed
With “Hey, dog, hey!
Have these hogs away!"
Now in cometh another
With “Get me a staffé
rabble:
The swine eat my draffé!
And there began a fabble,
Strike the hogs with a club,
They
have
drunk
up
A clattering and babble
my
swilling-tub!”
Then thither came drunken
Alice,
And she was full of talés,
Of tidings in Walés,
And of Saint James in Galés,
And of the Portingalés,
There hath been great war
Over the hedge and pale,
And all for the good ale.
And the Cross in Cheap,
“With Hey! and with Ho!
in
her
snout,
Snivelling in her nose
As though she had the pose.
‘Lo, here is an old tippet,
An ye will give me a sippet
Of your stale ale,
God send you good sale!”
“This ale’, said she, “is noppy;
Let us suppé and soppy
And not spill a droppy,
For, so may | hoppy,
It cooleth well my croppy.”
Then began she to weep
And forthwith fell asleep. 2
Let us wash our gummés
Some brought a thimble,
Some brought this and that
brought
| wot
what.
Sit we down a-row,
And drink till we blow,
And pipe ‘Tirly Tirlow!" ".
But my fingers itch,
| have written too much
Of this mad mumming
Of Elinor Rumming!
Thus endeth the geste
Of this worthy feast.
Vivace Chorus
ne'er
And all this shift they make
For the good ale sake.
“‘With Hey! and with Ho!
Egyptian gipsy
fable
jabbering
Galés
Galicia
geets
clothes
gib
cat
hoppy
have good luck
jetty
projection
jollivet
merry young girl
skirt
Molly
pose
Portuguese
catarrh
pranked
decked
rocket
dress
sib
akin
stead
place
swinkers toilers
From the dry crummés!”
Some brought a wimble,
Some
muddy
hog-wash
nappy/noppy foaming
And “Let the cat wink,
Of mill-stones in a rout”.
daggéd
draffe
Portingalés
But drink, still drink,
And there came an heap
coquetry
kirtle
Mold
Their thirst was so great
They asked never for meat,
Between Temple Bar
thus
Start in at the back-side
And drink till we blow.”
Thus and thus it is:
speaketh
They care not what men say,
Some, loth to be espied,
Sit we down a-row,
With “Lo, Gossip, | wis,
She
They hold the highway,
cocket
tonnish
beery
trim-tram
pretty trifle
tunning
brewing
whim-wham
trinket
wimble
gimlet
wonning
dwelling
Il. Pretty Bess — baritone and chorus
My proper Bess,
My pretty Bess,
Turn once again to me!
Alas! | am disdained,
And as a man half maimed,
My heart is so sore pained!
For sleepest thou, Bess,
Or wakest thou, Bess,
Mine heart it is with thee.
| pray thee, Bess, unfeigned,
Yet come again to me!
My daisy delectable,
My primrose commendable,
My violet amiable,
My joy inexplicable,
Now turn againtome.
My proper Bess,
My pretty Bess,
Turn once again to me!
For sleepest thou, Bess,
Or wakest thou, Bess,
Mine heart it is with thee.
By love | am constrained
To be with you retained,
It will not be refrained:
| pray you. be reclaimed,
And turn againtome.
A
2
lll. Epitaph on John Jayberd of Diss — chorus (with approximate translation)
Sequitur trigintale
Tale quale rationale,
Licet parum curiale,
Tamen satis est formale,
Joannis Clerc, hominis
(* a series of 30
Here follows a trental,*
Requiems)
more or less reasonable,
hardly fitting for the church
but formal enough,
for John the Clerk, a certain man
Cujusdam multinominis,
of many names
who was called John Jayberd.
He was called clerk by the clergy.
This holy father died in
the year of our Lord 1506.
Joannes Jayberd qui vocatur,
Clerc cleribus nuncupatur.
Obiit sanctus iste pater
Anno Domini Millesimo quingentesimo sexto.
In parochia de Diss
In the parish of Diss
Non erat sibi similis;
there was not his like;
a man renowned for malice,
In malitia vir insignis,
Duplex corde et bilinguis;
double-hearted and double-tongued,
Senio confectus,
Omnibus suspectus,
Nemini dilectus,
worn out by old age,
suspected of all,
Sepultus est among the weeds:
God forgive him his mis-deeds!
Carmine cum cannis
Cantemus festa Joannis:
Clerk obiit vere,
Jayberd nomenque dedere:
Diss populo natus.
Clerk cleribus estque vocatus.
Nunquam sincere
Solitus sua crimina flere:
Cui male lingua loquaxque
mendax-que, fuere.
Et mores tales
6
loved by none.
He is buried ...
Sing we songs in our cups
to celebrate John.
The clerk truly is dead
and was given the name of Jayberd.
He was born among the people of Diss
and was called clerk by the clergy.
Never was he wont
truly to bewail his sins.
His evil tongue was loquacious
and lying.
Such morals as his
Vivace Chorus
Resident in nemine quales;
were never before in anyone.
When he breathed the vital
Carpens vitales
Auras, turbare sodales
Et cives socios.
air he disturbed his companions
and his fellow citizens
Asinus, mulus velut, et bos.
as if he were an ass, a mule, or a bull.
Quid petis, hic sit quis?
Do you ask who this is?
John Jayberd, incola de Diss;
John Jayberd, inhabitant of Diss
Cui, dum vixerat is,
Sociantur jurgia, vis, lis.
were associated quarrels, violence and strife.
with whom while he lived
Jam jacet hic stark dead,
Now here he lies ...
Never a tooth in his head.
Adieu, Jayberd, adieu,
In faith, deacon thou crew!
Fratres, orate
Pray brethren ...
For this knavate,
By the holy rood.
Did never man good:
[ pray you all.
And pray shall,
At this trental
On knees to fall
To the football,
With ‘Fill the black bowl
For Jayberd's soul'.
Bibite multum:
Drink your fill.
Ecce sepultum
See he is buried
Sub pede stulfum.
under your feet,
afool, an ass and a mule ...
Asinum et mulum.
With, ‘Hey, ho, rumbelow!
Rumpopulorum
Per omnia secula seculorum!
For ever and ever.
IV: Jane Scroop (her lament for Philip Sparrow) — mezzo-soprano and chorus
Placebo! Who is there, who?
When | remember again
Dilexi!
How my Philip was slain
Dame Margery?
Never half the pain
Fa, re, mi, mi.
Wherefore and why, why?
Was between you twain,
For the soul of Philip Sparrow,
As then befell to me:
That was, late, slain at Carrow*, (*an Abbey)
Among the Nuns Black.* (*Benedictine nuns)
For that sweet soul's sake,
The tears down hailed,
Pyramus and Thisbe,
And for all sparrows’ souls
Vivace Chorus
But nothing it availed
To call Philip again,
Whom Gib, our cat, hath slain..
Set in our bead-rolls*. (*list of those to be
prayed for)
| wept and | waliled,
2
By way of exclamation,
On all the whole nation
To mourning look that ye fall
With dolorous songs funeral,
Some to sing, and some to say,
Of cattes wild and tame:
Some to weep, and some to pray,
God send them sorrow and shame!
That cat specially
The goldfinch, the wagtail;
That slew so cruelly
The jangling jay to rail,
My little pretty sparrow
The fleckéd pie to chatter
That | brought up at Carrow!
O cat of churlish kind,
And Robin Redbreast,
Vengeance | ask and cry,
Every bird in his lay.
Of this dolorous matter;
It had a velvet cap,
He shall be the priest
The requiem mass to sing,
Softly warbling,
With help of the reed sparrow,
And would sit upon my lap,
And seek after small wormes,
And the chattering swallow,
This hearse for to hallow;
And sometime whitebread-crumbes;
The lark with his long toe;
And many times and oft.
The spinke, and the martinet also;
The fieldfare, the snite
The fiend was in thy mind
So traitorously my bird to kill
That never owed thee evil will!
Between my breastés soft
The crow and the kite;
It would lie and rest;
It was proper and prest”!
Sometime he would gasp
(*neat)
The raven called Rolfe.
His plain song to sol-fa;
When he saw a wasp;
The partridge, the quail;
Afly, or a gnat.
The plover with us to wail;
He would fly at that;
The lusty chanting nightingale;
And prettily he would pant
The popinjay to tell her tale,
When he saw an ant!
Lord, how he would pry
That toteth* oft in a glass,
(*peeps)
Shall read the Gospel at mass;
After a butterfly!
The mavis with her whistle
Lord, how he would hop
Shall read there the Epistle.
Our chanters shall be the cuckoo,
After the grasshop!
And when | said, ‘Phip, Phip!
The culver, the stockdoo,
Then he would leap and skip
With ‘peewit’ the lapwing,
And take me by the lip
The Versicles shall sing.
Alas! it will me slo*
(*slay)
That Philip is gone me fro!
For Philip Sparrow’s soul,
Set in our bead-roll,
Let us now whisper A Pater noster.
Lauda, anima mea, Dominum!
To weep with me, look that ye come,
All manner of birdés in your kind;
See none be left behind. ~
The swan of Maeander,
The goose and the gander,
The duck and the drake,
Shall watch at this wake;
The owl that is so foul,
Must help us to howl;
The heron so gaunt,
And the cormorant,
With the pheasant,
And the gaggling gant*,
(*gannet)
Vivace Chorus
The dainty curlew,
Softly Be-mol
With the turtle most true.
For my sparrow’s soul.
The peacock so proud,
And now the dark cloudy night
Because his voice is loud,
Chaseth away Phoebus bright,
And hath a glorious tail,
Taking his course toward the west,
He shall sing the Grail.
God send my sparrow’s soul good rest!
The bird of Araby
Requiem aeternam dona eis, Domine!
That potentially
| pray God, Philip to heaven may fly!
May never die,
Domine, exaudi orationem meam!
A phoenix it is
To heaven he shall, from Heaven he came!
This hearse that must bless
Dominus vobiscum!
With aromatic gums
Of all good prayers God send him some!
That cost great sums,
Oremus,
The way of thurification
Deus, cui proprium est misereri et parcere,
To make a fumigation
On Philip’s soul have pity!
Sweet of reflare*,
(* perfume)
And redolent of air,
For he was a pretty cock,
And came of a gentle stock,
This corse for to 'cense
And wrapt in a maiden’s smock
With great reverence,
And cherished full daintily,
As patriarch or pope
Till cruel fate made him to die;
In a black cope.
Alas, for doleful destiny!
Whiles he 'censeth the hearse,
Farewell, Philip, adieu!
He shall sing the verse,
Our Lord, thy soul rescue!
Libera me, Domine!
Farewell, without restore,
In do, la, sol, re,
A
Farewell for evermore!
V. Jolly Rutterkin — baritone and chorus
Hoyda, jolly Rutterkin, hoyda!
Like a rutter* hoyda.
What now, let see,
(*dashing young fellow)
How gay and how stout
In a cloak without coat or gown,
Save a ragged hood to cover his crown,
Like a rutter hoyda.
His tongue runneth all on buttered fish,
Besmeared with grease about his dish,
Like a rutter hoyda.
Rutterkin shall bring you all good luck,
Till his brain be as wise as a duck,
Like a rutter hoyda.
Vivace Chorus
~
That | can wear
Courtly my gear.
My hair brusheth
Rutterkin can speak no English,
A stoup of beer up at a pluck®,
Who looketh on me
Well round about,
Rutterkin is come unto our town
(*gulp)
So pleasantly.
My robe rusheth
So ruttingly*,
Meseem | fly,
| am so light
To dance delight.
(*dashingly)
Properly dressed
My hose strait tied,
All point devise,
My buskin wide
My person pressed
Rich to behold
Beyond all size
Glittering in gold.
Of the new guise,
Rutterkin is come unto our town
:
To rush it out
In a cloak without coat or gown,
In every rout.
Save a ragged hood to cover his crown,
My sleeve is wide,
All of pleasure
2
Hoyda, jolly Rutterkin, hoyda!
Like a rutter hoyda!
Beyond measure
Like a rutter hoyda.
~INTERVAL ~
Carl Orff: Carmina Burana
There are a number of composers who, although they were responsible
for a certain amount of music, are best known for just one work. Four
examples are Italian composer, Gregorio Allegri (his beautiful setting of
the Miserere), German composer, Johann Pachelbel (his sublime
instrumental Canon), German composer (not the pop singer) Engelbert
Humperdinck (the magical opera Hédnsel und Gretel) and German
composer, Carl Orff (his racy cantata Carmina Burana).
Carl Orff was born in Munich in 1895 and died, also in Munich, in 1982.
He was born into a military family, who also had a keen interest in music.
At the early age of five, Orff began to learn about the piano, organ and
cello and later went on to discover the musical styles of composers such
as Debussy and Schoenberg. After a short military experience in 1917,
he returned to Munich and studied the music of earlier composers,
especially Monteverdi, some of whose music he later transcribed. He
also became particularly active in methods of musical education for
young children, providing materials for them to make music using voices
and percussion instruments. Orff's works included a collection of OrffSchulwerk which aimed to support creativity in children.
A certain amount of Lieder feature amongst Orff's compositions, but the
bulk of his music was written for the stage. There were operas such as
Die Kluge, Der Mond, Oedipus der Tyrann and Antigone, incidental
music to A Midsummer Night's Dream and three scenic choral works
grouped as the triptych Trionfi, namely Carmina Burana, Catulli Carmina
and Trionfo di Afrodite. Although many of these works are given
performances today, it is the scenic cantata Carmina Burana which is
heard by millions both in concert and on disc.
10
Vivace Chorus
The text for Carmina Burana dates back to medieval manuscripts found
at the Benediktbeuren monastery. These manuscripts contain a wide
range of subjects — fortune and wealth, certain joys of spring and
fortunes of such topics as drinking, gluttony, gambling and lust. The
selection of the text for Carmina Burana was mainly in Latin, with a small
amount in German, and the exotic mixture of lifestyle helped to make the
opening
staged
performance
a
major triumph.
This
took
place
in
Frankfurt in 1937 and was performed by Frankfurt Opera with highly
colourful sets and costumes. Further staged performances followed in
Germany and it soon became the country’s most famous current piece of
music, after which its popularity spread widely across the world. Although
originally conceived as a staged work involving dance, choreography,
imaginative design and other stage action, this work is now more often
performed as a cantata in concert halls involving three soloists (soprano,
high tenor and baritone), children’s chorus (sung for us tonight by
Farnham Youth Choir), a large mixed chorus and orchestra.
Carmina Burana is divided into three parts which are framed by two
opening choruses and two closing choruses.
Fortuna Imperatrix Mundi
1. O Fortuna
2. Fortune plango vulnera
These two choruses possess bold persistent rhythm and concentrate on
the turning of the wheel of Fortune. The first chorus has a powerful
opening four bars before dropping to pianissimo at the rhythmic start of
the words semper crescis; this then builds up to a magnificent final
crescendo. The three-verse second chorus has another effective buildup starting with the basses, who are then joined by the tenors and finally
the sopranos and altos.
Part | Primo vere
3. Veris leta facies
4. Omnia sol temperat
5. Ecce gratum
Now there are three well contrasted numbers depicting the joys of spring.
In the gentle mood of Veris leta facies the chorus takes pleasure in
many-coloured flowers, joyous meadows and nectar-scented breezes. In
Omnia Sol temperat the solo baritone maintains a similar mood as he
extols the start of the warmth of the sun and there is a tremendous sense
of spring-like joy in the chorus Ecce gratum.
Vivace Chorus
11
Uf dem Anger
6. Tanz
7. Floret silva
8. Chramer, gip die varwe mir
9. Reie...Swaz hie gat umbe
10. Were diu werit alle min
Uf dem Anger (On the green) represents a sequence of colourful folk
dances, two of which are for orchestra only and the rest for chorus and
orchestra. Young men and maidens are seeking lovers in this multipleasant time of year, finishing with an exhilarating shout of ‘Hey’ at the
end of the last chorus.
Part Il In Taberna
11. Estuans interius
12. Olim lacus colueram
13. Ego sum abbas
14. In taberna quando sumus
The scene changes to the inside of a tavern and opens with a vigorous
baritone solo Estuans interius (Burning inside with violent anger). The
tenor soloist, high up in his vocal range, then has to impersonate the
misery of a roasted swan in three verses with choral endings and then is
followed by another baritone solo, Ego sum abbas, this time intensely
dramatic in the role of the Abbot of Cockaigne as he insists on
intemperance, with screams of ‘Woe, woe’, which are yelled back by the
mens’ chorus. The tavern scene concludes with a wildly rhythmic chorus,
men only again, In tabema quando sumus, concentrating on reeling
about and merry-making, continually repeating an alcoholic word bibit.
Part lll Cour d’amours
15. Amor volat undique
16. Dies, nox et omnia
17. Stetit puella
18. Circa mea pectora
19. Si puer cum puellula
20. Veni, veni, venias
21. In trutina
22. Tempus est iocundum
23. Dulcissime
Blanziflor et Helena
24. Ave formosissima
12
Vivace Chorus
Fortuna Imperatrix Mundi
25. O Fortuna
The Court of Love is the theme for Part Ill, which commences with a
beautiful number for children’s choir and solo soprano, Amor volat
undique, enjoying the fact that Cupid flies around all over the place. This
is followed by a well contrasted group of solo numbers for soprano and
baritone, joined at times by children’s choir and full chorus. The soprano
solo In ftrutina has a particularly sublime melody and an enormous
amount of enthusiasm is generated in the vibrant chorus Veni, veni,
venias. The Court of Love ends with an ecstatic four-bar soprano solo,
Dulcissime - just two chords from the orchestra plus forty-seven notes
from the singer, where she builds up to a stunning top D and then
anticipates the two final choruses: Ave formosissima, a thrilling piece for
large chorus and orchestra, which gives a resounding musical splendour
to the words ‘Hail, most beautiful one’ and then leads into a repeat of the
grand opening chorus O Fortuna.
All programme notes by John Parry
Fortuna Imperatrix Mundi
1. O Fortuna — Chorus
O Fortuna velut luna statu variabilis,
O Fortune, like the moon you are changeable,
semper crescis aut decrescis;
ever waxing and waning;
vita detestabilis nunc obdurat
hateful life first oppresses
et tunc curat ludo mentis aciem,
and then soothes as fancy takes it;
poverty and power it melts them like ice.
egestatem, potestatem dissolvit ut glaciem.
Sors immanis et inanis,
Fate — monstrous and empty,
rota tu volubilis,status malus,
you whirling wheel, you are malevolent,
vana salus semper dissolubilis,
well-being is vain and always fades to nothing,
obumbrata et velata michi quoque niteris;
shadowed and veiled you plague me too;
nunc per ludum
now through the game
dorsum nudum fero tui sceleris.
| bring my bare back to your villainy.
Sors salutis et virtutismichi nunc contraria,
Fate is against me in health and virtue,
est affectus et defectus semper in angaria.
driven on and weighted down, always enslaved.
Hac in hora sine mora
So at this hour without delay
corde pulsum tangite;
pluck the vibrating strings;
quod per sortem sternit fortem,
mecum omnes plangite!
since Fate strikes down the strong man,
everyone weep with me!
2. Fortune plango vulnera — Chorus
Fortune plango vulnera
| bemoan the wounds of Fortune
stillantibus ocellis
with weeping eyes,
quod sua michi munera
for the gifts she made me
subtrahit rebellis.
she perversely takes away.
Verum est, quod legitur,
It is written in truth,
fronte capillata,
that she has a fine head of hair,
Vivace Chorus
13
sed plerumque sequitur
but, when it comes to seizing an opportunity
Occasio calvata.
she is bald.
In Fortune solio sederam elatus,
quicquid enim florui
On Fortune's throne | used to sit raised up,
crowned with the many-coloured
flowers of prosperity;
though | may have flourished
felix et beatus,
happy and blessed,
nunc a summo corrui gloria privatus.
now | fall from the peak deprived of glory.
The wheel of Fortune turns;
| go down, demeaned;
prosperitatis vario
flore coronatus;
Fortune rota volvitur:
descendo minoratus;
alter in altum tollitur; nimis exaltatus
another is raised up; far too high up
rex sedet in vertice caveat ruinam!
sits the king at the summit - let him fear ruin!
nam sub axe legimus Hecubam reginam.
for under the axis is written Queen Hecuba.
Part I: Primo Vere
3. Veris leta facies — Chorus
Veris leta facies mundo propinatur,
hiemalis acies victa iam fugatur,
The merry face of spring turns to the world,
sharp winter now flees, vanquished;
in vestitu vario
bedecked in various colours
Flora reigns, the harmony of the woods
praises her in song. Ah!
Flora principatur,nemorum dulcisono que cantu
celebratur.
Flore fusus gremio Phebus novo more
Lying in Flora's lap Phoebus once more
risum dat, hac vario iam stipate flore.
Zephyrus nectareo spirans in odore.
smiles, now covered in many-coloured flowers,
Zephyr breathes nectar-scented breezes.
Let us rush to compete for love's prize. Ah!
In harp-like tones sings the sweet nightingale,
Certatim pro bravio curramus in amore.
Cytharizat cantico dulcis Philomena,
flore rident vario
prata iam serena,
salit cetus avium
silve per amena,
chorus promit virginum
iam gaudia millena.
with many flowers
the joyous meadows are laughing,
a flock of birds rises up
through the pleasant forests,
the chorus of maidens
already promises a thousand joys. Ah!
4. Omnia sol temperat — Baritone solo
Omnia sol temperat purus et subtilis,
novo mundo reserat faciem Aprilis,
ad amorem properat animus herilis
et iocundis imperat deus puerilis.
Rerum tanta novitas in solemni vere
et veris auctoritas jubet nos gaudere;
vias prebet solitas,
et in tuo vere
fides est et probitas tuum retinere.
Ama me fideliter, fidem meam nota:
de corde totaliter et ex mente tota
sum presentialiter absens in remota,
quisquis amat taliter, volvitur in rota.
14
The sun warms everything, pure and gentle,
once again it reveals to the world April's face,
the soul of man is urged towards love
and joys are governed by the boy-god.
All this rebirth in spring's festivity
and spring's power bids us to rejoice;
it shows us paths we know well,
and in your springtime
it is true and right to keep what is yours.
Love me faithfully! See how | am faithful:
with all my heart and with all my soul,
| am with you even when | am far away.
Whosoever loves this much turns on the wheel.
Vivace Chorus
5. Ecce gratum — Chorus
Ecce gratum et optatum
Behold, the pleasant and longed-for
Ver reducit gaudia;
spring brings back joyfulness;
Purpuratum floret pratum,
violet flowers fill the meadows,
Sol serenat omnia.
lamiam cedant tristia!
the sun brightens everything.
Sadness is now at an end!
Estas redit, nunc recedit
Hyemis sevitia.
the rigours of winter. Ah!
lam liquescit et decrescit
Now melts and disappears
Summer returns, now withdraw
grando, nix et cetera; bruma fugit,
ice, snow and the rest, winter flees,
et iam sugit Ver Estatis ubera;
and now spring sucks at summer's breast:
illi mens est misera, qui nec vivit,
a wretched soul is he who does not live or lust
nec lascivit sub Estatis dextera.
under summer's rule. Ah!
Gloriantur et letantur
They glory and rejoice
in melle dulcedinis,
in honeyed sweetness
qui conantur, ut utantur premio Cupidinis:
who strive to make use of Cupid's prize;
simus jussu Cypridis
at Venus' command
gloriantes et letantes
let us glory and rejoice
pares esse Paridis.
in being Paris' equals. Ah!
Uf dem Anger (On the Green)
6. Tanz (Dance)
7. Floret silva nobilis — Chorus
Floret silva nobilis
The noble woods are burgeoning
floribus et foliis.
with flowers and leaves.
Ubi est antiquus meus amicus?
Where is the lover| knew? Ah!
Hinc equitavit,
He has ridden off!
eia, quis me amabit?
Oh! Who will love me? Ah!
Floret silva undique,
The woods are burgeoning all over,
nah min gesellen ist mir we.
| am pining for my lover.
Gruonet der walt allenthalben,
The woods are turning green all over,
wa ist min geselle alse lange?
why is my lover away so long? Ah!
Der ist geriten hinnen,
He has ridden off,
0 wi, wer sol mich minnen?
Oh woe, who will love me? Ah!
8. Chramer, gip die varwe mir— Soprano and chorus
Chramer, gip die varwe mir,
Shopkeeper, give me colour
die min wengel roete,
to make my cheeks red,
damit ich die jungen man
so that | can make the young men
an ir dank der minnenliebe noete.
love me, against their will.
Seht mich an, jungen man!
Look at me, young men!
lat mich iu gevallen!
Let me please you!
Minnet, tugentliche man, minnecliche frouwen!
Good men, love women worthy of love!
minne tuot iu hoch gemout
Love ennobles your spirit
unde lat iuch in hohen eren schouwen
and gives you honour.
Seht mich an jungen man! lat mich iu gevallen!
Look at me, young men! Let me please you!
Wol dir, Werlt, daz du bist also freudenriche!
Hail, world, so rich in joys!
Vivace Chorus
15
ich will dir sin undertan
| will be obedient to you
durch din liebe immer sicherliche.
because of the pleasures you afford.
Look at me, young men! Let me please you!
Seht mich an jungen man! lat mich iu gevallen!
9. Reie — Chorus
Swaz hie gat umbe, Swaz hie gat umbe,
Those who go round and round
daz sint alles megede,
are all maidens,
die wellent an man
alle disen sumer gan!
they want to do without a man
all summer long. Ah! Sla!
Chume, chum, geselle min,
Come, come, my love,
ih enbite harte din, ih enbite harte din,
chume, chum, geselle min.
Suzer rosenvarwer munt,
chum un mache mich gesunt
chum un mache mich gesunt,
suzer rosenvarwer munt
Swaz hie gat umbe,
daz sint alles megede,
die wellent an man
allen disen sumer gan! Ah! Sla!
I long for you, | long for you,
come, come, my love.
Sweet rose-red lips,
come and make me better,
come and make me better,
sweet rose-red lips.
Those who go round and round
are all maidens,
they want to do without a man
all summer long. Ah! Sla!
10. Were diu werlt alle min — Chorus
Were diu werlt alle min
Were all the world mine
von deme mere unze an den Rin
from the sea to the Rhine,
des wolt ih mih darben,
| would starve myself of it
daz diu chunegin von Engellant
so that the queen of England
might lie in my arms. Hey!
lege an minen armen. Hei!
Part II: In Taberna
11. Estuans interius — Baritone solo
Estuans interius ira vehementi
Burning inside with violent anger,
in amaritudine loquor mee menti:
Bitterly | speak to my heart:
factus de materia, cinis elementi
created from matter, of the ashes of the elements,
similis sum folio, de quo ludunt venti.
Cum sit enim proprium viro sapienti
| am like a leaf played with by the winds.
If it is the way of the wise man
supra petram ponere sedem fundamenti,
stultus ego comparor fluvio labenti,
to build foundations on stone,
the | am a fool, like a flowing stream,
sub eodem tramite nunquam permanenti.
which in its course never changes.
Feror ego veluti sine nauta navis,
| am carried along like a ship without a steersman,
and in the paths of the air like a light, hovering bird;
chains cannot hold me, keys cannot imprison me,
ut per vias aeris vaga fertur avis;
non me tenent vincula, non me tenent clavis,
quero mihi similes et adiungor pravis.
Mihi cordis gravitas res videtur gravis;
iocus est amabilis dulciorque favis;
quicquid Veenus imperat, labor est suavis,
que nunquam in cordibus habitat ignavis.
Via lata gradior more iuventutis
16
| look for people like me and join the wretches.
The heaviness of my heart seems like a burden
it is pleasant to joke and sweeter than honeycomb;
whatever Venus commands is a sweet duty,
she never dwells in a lazy heart.
| travel the broad path as is the way of youth,
Vivace Chorus
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inplicor et vitiis immemor virtutis,
voluptatis avidus
magis quam salutis, mortuus in anima
curam gero cultis.
| give myself to vice, unmindful of virtue,
| am eager for the pleasures of the flesh
more than for salvation, my soul is dead,
so | shall look after the flesh.
12. Olim lacus colueram — Tenor solo and chorus men
Olim lacus colueram, olim pulcher extiteram,
dum cignus ego fueram.
Miser, miser! modo niger et ustus fortiter!
Girat, regirat garcifer;
me rogus urit fortiter;
propinat me nunc dapifer,
Miser, miser! modo niger et ustus fortiter!
Nunc in scutella iaceo, et volitare nequeo
dentes frendentes video:
Miser, miser! modo niger et ustus fortiter!
Once I lived on lakes, once | looked beautiful
when | was a swan.
Misery me! Now black and roasting fiercely!
The servant is turning me on the spit;
| am burning fiercely on the pyre:
the steward now serves me up.
Misery me! Now black and roasting fiercely!
Now | lie on a plate,and cannot fly anymore,
| see bared teeth:
Misery me! Now black and roasting fiercely!
13. Ego sum abbas — Baritone solo and chorus men
Ego sum abbas Cucaniensis
et consilium meum est cum bibulis,
et in secta Decii voluntas mea est,
et qui mane me quesierit in taberna,
post vesperam nudus egredietur,
et sic denudatus veste clamabit:
Wafna, wafna! quid fecisti sors turpissima
Nostre vite gaudia abstulisti omnia!
I am the abbot of Cockaigne
and my assembly is one of drinkers,
and | wish to be in the order of Decius,
and whoever searches me out at the tavern in the
morning, after Vespers he will leave naked,
and thus stripped of his clothes he will call out:
Woe! Woe! what have you done, vilest Fate?
the joys of my life you have taken all away!
14. In taberna quando sumus — Chorus men
In tabema quando sumus
non curamus quid sit humus,
sed ad ludum properamus,
cui semper insudamus.
Quid agatur in taberna
ubi nummus est pincema,
hoc est opus ut queratur,
si quid loquar, audiatur.
Quidam ludunt, quidam bibunt,
quidam indiscrete vivunt.
Sed in ludo qui morantur,
ex his quidam denudantur
quidam ibi vestiuntur,
quidam saccis induuntur.
Ibi nullus timet mortem
sed pro Baccho mittunt sortem:
Primo pro nummata vini,
ex hac bibunt libertini;
semel bibunt pro captivis,
post hec bibunt ter pro vivis,
quater pro Christianis cunctis
Vivace Chorus
When we are in the tavern,
we do not think how we will go to dust,
but we hurry to gamble,
which always makes us sweat.
What happens in the tavern,
where money is host,
you may well ask,
and hear what | say.
Some gamble, some drink,
some behave loosely.
But of those who gamble,
some are stripped bare,
some win their clothes here,
some are dressed in sacks.
Here no-one fears death,
but they throw the dice in the name of Bacchus.
First of all it is to the wine-merchant
the the libertines drink,
one for the prisoners,
three for the living,
four for all Christians,
17
quinquies pro fidelibus defunctis,
five for the faithful dead,
sexies pro sororibus vanis,
six for the loose sisters,
septies pro militibus silvanis.
seven for the footpads in the wood,
Eight for the errant brethren,
Octies pro fratribus perversis,
nonies pro monachis dispersis,
decies pro navigantibus
undecies pro discortantiibus,
duodecies pro penitentibus,
tredecies pro iter agentibus.
nine for the dispersed monks,
ten for the seamen,
eleven for the squabblers,
twelve for the penitent,
thirteen for the wayfarers.
Tam pro papa quam pro rege
To the Pope as to the king
bibunt omnes sine lege.
they all drink without restraint.
Bibit hera, bibit herus,
The mistress drinks, the master drinks,
bibit miles, bibit clerus,
the soldier drinks, the priest drinks,
bibit ille, bibit illa,
the man drinks, the woman drinks,
bibit servis cum ancilla,
the servant drinks with the maid,
bibit velox, bibit piger,
the swift man drinks, the lazy man drinks,
bibit albus, bibit niger,
the white man drinks, the black man drinks,
bibit constans, bibit vagus,
the settled man drinks, the wanderer drinks,
bibit rudis, bibit magus.
the stupid man drinks, the wise man drinks,
Bibit pauper et egrotus,
The poor man drinks, the sick man drinks,
bibit exul et ignotus,
the exile drinks, and the stranger,
bibit puer, bibit canus,
the boy drinks, the old man drinks,
bibit presul et decanus,
the bishop drinks, and the deacon,
bibit soror, bibit frater,
the sister drinks, the brother drinks,
bibit anus, bibit mater,
the old lady drinks, the mother drinks,
bibit ista, bibit ille,
this man drinks, that man drinks,
bibunt centum, bibunt mille.
a hundred drink, a thousand drink.
Parum sexcente nummate
Six hundred pennies would hardly
durant, cum immoderate
suffice, if everyone
drinks immoderately and immeasurably.
bibunt omnes sine meta.
Quamvis bibant mente leta,
However much they cheerfully drink
sic nos rodunt omnes gentes
we are the ones whom everyone scolds,
et sic erimus egentes.
and thus we are destitute.
Qui nos rodunt confundantur
May those who slander us be cursed
et cum iustis non scribantur.
and may their names not be written in the book of
the righteous.
Part lll. Cour d'amours
15. Amor volat undique — Soprano solo and children’s choir
Amor volat undique, captus est libidine.
Cupid flies everywhere seized by desire.
luvenes, iuvencule coniunguntur merito.
Young men and women are rightly coupled.
Siqua sine socio,
The girl without a lover
caret omni gaudio;
misses out on all pleasures,
tenet noctis infima sub intimo
cordis in custodia:
fit res amarissima.
she keeps the dark night hidden
18
in the depth of her heart;
it is a most bitter fate.
Vivace Chorus
16. Dies, nox et omnia — Baritone solo
Dies, nox et omnia michi sunt contraria;
virginum colloquia me fay planszer,
oy suvenz suspirer, plu me fay temer.
O sodales, ludite,
vos qui scitis dicite
michi mesto parcite, grand ey dolur,
attamen consulate per voster honur.
Tua pulchra facies me fay planszer milies,
pectus habet glacies.
A remender statim vivus fierem per un baser.
Day, night and everything is against me,
the chattering of maidens makes me weep,
and often sigh, and, most of all, scares me.
O friends, you are making fun of me,
you do not know what you are saying,
spare me, sorrowful as | am, great is my grief,
advise me at least, by your honour.
Your beautiful face, makes me weep a thousand
times, your heart is of ice.
As a cure, | would be revived by a kiss.
17. Stetit puella — Soprano solo
Stetit puella rufa tunica;
si quis eam tetigit, tunica crepuit. Eia.
A girl stood in a red tunic;
Stetit puella tamquam rosula;
facie splenduit, os eius fioruit. Eia.
A girl stood like a little rose:
if anyone touched it, the tunic rustled. Eia!
her face was radiant and her mouth in bloom. Eia!
18. Circa mea pectora — Baritone solo and chorus
Circa mea pectora multa sunt suspiria
de tua pulchritudine, que me ledunt misere.
Manda liet, Manda liet
min geselle chumet niet.
In my heart there are many sighs
for your beauty, which wound me sorely. Ah!
Mandaliet, mandaliet,
my lover does not come.
Your eyes shine like the rays of the sun,
Tui lucent oculi sicut solis radli,
sicut splendor fulguris
lucem donat tenebris.
Manda liet Manda liet,
like the flashing of lightning
which brightens the darkness. Ah!
Mandaliet, mandaliet,
min geselle chumet niet.
Vellet deus, vallent dii
quod mente proposui:
May God grant, may the gods grant
what | have in mind:
my lover does not come.
ut eius virginea reserassem vincula.
that | may loose the chains of her virginity. Ah!
Manda liet, Manda liet,
min geselle chumet niet.
Mandaliet, mandaliet,
my lover does not come.
19. Si puer cum puellula — Chorus men
Si puer cum puellula moraretur in cellula,
If a boy with a girl tarries in a little room,
felix coniunctio.
happy is their coupling.
Love rises up, and between them
prudery is driven away,
an ineffable game begins
in their limbs, arms and lips.
Amore suscrescente pariter e medio
avulso procul tedio,
fit ludus ineffabilis
membris, lacertis, labii
20. Veni, veni, venias — Chorus
Veni, veni, venias, ne me mori facias,
hyrca, hyrca, nazaza, trillirivos...
Pulchra tibi facies oculorum acies,
capillorum series, 0 quam clara species!
Rosa rubicundior, lilio candidior
omnibus formosior, semper in te glorior!
Vivace Chorus
Come, come, O come, do not let me die,
hyrca, hyrca, nazaza, trillirivos!
Beautiful is your face, the gleam of your eye,
your braided hair, what a glorious creature!
Redder than the rose, whiter than the lily,
lovelier than all others, | shall always glory in you!
19
21. In truitina — Soprano solo
In truitina mentis dubia
In the wavering balance of my feelings
fluctuant contraria
set against each other
lascivus amor et pudicitia.
lascivious love and modesty.
Sed eligo quod video,
collum iugo prebeo:
and submit my neck to the yoke;
ad iugum tamen suave transeo.
| yield to the sweet yoke.
But | choose what | see,
22. Tempus est iocundum — Soprano and Baritone soli, chorus and children’s choir
Tempus est iocundum, o virgines,
This is the joyful time, O maidens,
modo congaudete vos iuvenes.
rejoice with them, young men!
Oh, oh, oh, totus floreo,
Oh! Oh! Oh! | am bursting out all over!
iam amore virginali totus ardeo,
| am burning all over with first love!
novus, novus amor est, quo pereo.
New, new love is what | am dying of!
Mea me confortat promissio,
| am heartened by my promise,
mea me deportat ne, ne, ne, ne negatio negatio
| am downcast by my refusal
Oh, oh, oh totus floreo
Oh! Oh! Oh! | am bursting out all over!
iam amore virginali totus ardeo,
| am burning all over with first love!
novus, novus amor est, quo pereo.
New, new love is what | am dying of!
Tempore brumali vir patiens,
In the winter man is patient,
animo vemali lasciviens.
the breath of spring makes him lust.
Oh! Oh! Oh! | am bursting out all over!
| am burning all over with first love!
Oh, oh, oh, totus floreo,
iam amore virginali totus ardeo,
novus, novus amor est, quo pereo.
New, new love is what | am dying of!
Mea mecum ludit virginitas,
My virginity makes me frisky,
mea me detrudit simplicitas.
my simplicity holds me back.
Oh, oh, oh, totus floreo,
Oh! Oh! Oh! | am bursting out all over!
iam amore virginali totus ardeo,
| am burning all over with first love!
novus, novus amor est, quo pereo.
New, new love is what | am dying of!
Veni, domicella, cum gaudio,
Oh, oh, oh, totus floreo,
Come, my mistress, with joy,
come, come, my pretty, | am dying!
Oh! Oh! Oh! | am bursting out all over!
iam amore virginali totus ardeo,
| am burning all over with first love!
novus, novus amor est, quo pereo.
New, new love is what | am dying of!
veni, veni, pulchra, iam pereo.
23. Dulcissime — Soprano solo
Dulcissime, totam tibi subdo me!
Sweetest one! Ah! | give myself to you totally!
Blanziflor et Helena
24. Ave formosissima — Chorus
Ave formosissima, gemma pretiosa,
Hail, most beautiful one, precious jewel,
ave decus virginum, virgo gloriosa,
Hail, pride among virgins, glorious virgin,
ave mundi luminar, ave mundi rosa,
Hail. light of the world, Hail, rose of the world,
Blanchefleur and Helen, noble Venus!
Blanziflor et Helena, Venus generosa!
Fortuna Imperatrix Mundi
25. O Fortuna - repeat as at start
20
Vivace Chorus
Rosalind Coad - Soprano
British soprano Rosalind Coad gained a
1%'class
BMus at the
Royal
College of
Music, going on to join the Opera Course of
the Royal Academy of Music. Rosalind was
a
Britten-Pears Young artist in 2012, a
of the English National Opera
Works Course and was awarded the
member
Independent Opera vocal
the RAM in 2013.
Scholarship at
At the Royal Academy of Music, Rosalind
performed
Noémie
in
Cendrillon,
La Bergere in L’enfant et les sortiléges and
Baronesa
.
'
Other
Photograph: Raphaelle Photography
lIrene
roles
in
La
include
Don Giovanni and
vera
Donna
Musetta
in
constanza.
Elvira
La
in
bohéme
(OperaUpClose), Hélene in La belle Héléne (Merry Opera), Sandman in
Hénsel und Gretel (Opera Door Opera), and Elisetta in Cimarosa’s
Il matrimonio segreto (BYO).
Passionate
about the
Song
repertoire,
Rosalind
regularly performs
recitals with her pianist Gregory Drott. Rosalind was the winner of the
Oxford Lieder Young Artist Platform Award in 2013, and awarded
second prize at the Bampton Classical Opera Competition.
Also in demand as a concert singer, Rosalind’ repertoire includes Bach's
St Matthew and St John Passions and various Cantatas, Handel's
Messiah, Dixit Dominus, Israel in Egypt and Samson, Mozart's Requiem
and
Exultate
jubilate,
Pergolesi's
Stabat
Mater,
Rossini's
Petite messe solennelle, Vivaldi's Gloria, and Haydn's Creation and
Nelson Mass. Recent engagements include Gianetta in L’elisir d’'amore
for Opera Holland Park, Ginevra in Ariodante, Bach Cantatas at the
Royal Academy of Music, and Clotilde in Norma for Opera Holland Park.
Rosalind was a Scottish Opera
Emerging Artist for the 2014-2015
season where she performed Ordinary Person in /nes de Castro and
Karolka in Jenufa alongside covering Clorinda in La Cenerentola and
Euridice in Orfeo et Euridice. Rosalind covered Fiordiligi in Cosi fan tutte
for Garsington Opera, and performed the role for Scottish Opera on tour.
Subsequent engagements include covers of Ginevra in Ariodante and
First Nymph in Rusalka, both for Scottish Opera, as well as concerts in
the UK.
Vivace Chorus
21
Claire Barnett-Jones — Mezzo-soprano
Originally
from
Somerset,
Claire
Barnett-Jones has a Bachelor’'s degree
from Birmingham Conservatoire and a
Master's
degree
from
the
Royal
Academy of Music, where she is
currently
studying
on
the
Royal
Academy
Opera
programme
with
Yvonne Howard, Sarah Walker and
Audrey Hyland.
On
the
operatic
stage
Claire’s
repertoire is wide and varied, including
such roles as Sorceress (Dido and
Aeneas), La Zia Principessa (Suor
Angelica), Baba the Turk (The Rake’s
Progress), Hexe (Hansel und Gretel)
and Marcellina (Le nozze di Figaro).
She has performed with Buxton Festival Opera in the role of Gertrude
and cover for La Mere (Louise), created the role of ‘Alto 1’ in
Stockhausen’s Mittwoch aus Licht with Birmingham Opera Company and
Maurya (Riders to the Sea) for British Youth Opera where she was
awarded the Basil A Turner Prize for her performance.
Claire’s performances on the concert and recital platform have led to
solo engagements at the Royal Albert Hall for the 2013 BBC Proms,
St Martin-in-the-Fields and St John’s, Smith Square. Claire will be
performing as alto soloist in Handel's Messiah with the Orchestra of
Valencia this Christmas and will be making her Wigmore Hall and
Leeds Lieder Festival debuts with the Academy Song Circle this winter.
Claire is extremely grateful to The Josephine Baker Trust, The Countess
of Munster Trust, The Winship Foundation, The D’Oyly Carte Memorial
Trust, The May Gibson Charitable Trust, The William Gibbs Charitable
Foundation and The George Drexler Foundation for supporting her
studies this year.
Vivace Chorus is grateful to The Josephine Baker Trust
for the sponsorship of Claire Barnett-Jones this evening.
22
Vivace Chorus
John-Colyn Gyeantey — Tenor
John-Colyn
Gyeantey studied
at the
Royal
College of Music and the
National Opera Studio as a Peter
Moores Foundation Major Scholar. He
is
an
alumnus
Accademia
of
the
prestigious
Rossiniana,
where
he
worked closely with Alberto Zedda.
Concert appearances include the title
roles in Acis and Galatea (The Chapel
Royal, St James’s Palace) and Thomas
Arne’s
Judgment of Paris
(Wigmore
Hall),
Carmina
Messiah,
Burana,
St Matthew
Passion
for
Spanish
television,
Mozart
Requiem
(Royal
Albert Hall), Mahler Das klagende Lied
.
with the LPO under Vladimir Jurowski (Royal
Festival Hall), Haydn
Creation (Cairo Opera House) and Haydn Stabat Mater recorded for
Luxembourg Radio.
His
Rossini
roles
include
Ruodi
in
Guillaume
Tell and
Aronne
in
Mosé in Egitto (covers for Welsh National Opera); Comte Ory in
Le Comte Ory (Opera South); Count Almaviva in /I barbiere di Siviglia
(Diva Opera and Welsh National Opera); Zefirino in /l viaggio a Reims,
Adelberto (cover) in Adelaide di Borgogna (both for the Rossini Opera
Festival, Pesaro); Alberto in L’occasione fa il ladro (OperaMinima);
Gernando/Ubaldo in Armida (St John’s, Smith Square). For English
Touring Opera, he has sung Arnalta in The Coronation of Poppea and
Egeus in Jason by Cavalli.
Other roles include Don Ottavio in Don Giovanni (Mid-Wales Opera);
Judge in Korngold’s Das Wunder der Heliane, recorded for Virgin/EMI
with
the
London
Philharmonic
Orchestra;
The Merry
Widow
(Scottish
Opera);
(Anghiari
Festival,
Tuscany).
At
Camille
de
Rosillon
Nemorino
in
L'elisir
Glyndebourne,
he
won
in
d’amore
the
Erich
Vietheer Prize and covered Don Ramiro in La Cenerentola.
Vivace Chorus
23
Gareth Brynmor John — Baritone
Winner of the 2013
Kathleen Ferrier Award,
baritone Gareth Brynmor John held a choral
' scholarship at St John’s College, Cambridge,
- before taking a place at London’s Royal
Academy of Music (RAM). In his final year, he
- won the RAM Patrons' Award and was awarded
. the Silver Medal by the Worshipful Company of
Musicians.
@ Gareth
Independent
Opera
Fellowship in 2013.
was
awarded
an
Postgraduate
Voice
Gareth’s operatic roles with Royal Academy
Opera
include
Eugene
Onegin,
Claudio
(Béatrice et Bened/ct) with Sir Colin Davis, The Ferryman (Curlew River),
Sprecher (Die Zauberfléte), and Sir Thomas Bertram (Jonathan Dove’s
Mansfield Park). Other roles include Cecil (Maria Stuarda), Papageno
(The Magic Flute), Sid (Albert Herring), Gendarme (Les mamelles de
Tirésias), Theseus (A Midsummer Night’'s Dream), Escamillo (Carmen),
Eliab
(Samuel
Hogarth's
David and
Goliath),
and
|l
Conte
(Le nozze di Figaro). He created the character Carl in Stefano
Gervasoni's opera buffa Limbus Limbo which premiered in September at
the Strasbourg Festival Musica.
Gareth has performed with a number of the UK’s leading orchestras and
ensembles including The Philharmonia, the Bournemouth Symphony
Orchestra, the London Mozart Players, The Brandenburg Sinfonia, and
Charivari Agréable. Recent concert highlights include Bach’s St Matthew
and St John Passions; Elgar's Coronation Ode and Dream of Gerontius;
Handel's Messiah at the Royal Albert Hall, Judas Maccabeus and
Alexander's Feast; Vaughan Wiliams’ Five Mystical Songs and
Sea Symphony, Rachmaninoff's The Bells; and Britten's War Requiem.
Gareth has a strong interest in song repertoire and performs in the
Songsmiths series at St John's, Smith Square. Gareth gave his debut
Wigmore recital earlier this year with a programme including Brahms,
Schubert, Vaughan Williams and Ravel. Other recent performances
include Britten’s Songs and Proverbs of William Blake at the Wigmore
Hall, Brahms’ op. 71 and Wolf's Italienisches Liederbuch at the RAM, a
recital featuring works of Brahms at King's Place, and various settings of
the work of English poet Walter de la Mare as part of the London English
Song Festival. He recently recorded the Schoenberg arrangement of the
Mahler Lieder eines fahrenden Gesellen with Trevor Pinnock and the
RAM Soloists Ensemble for future release on the Linn Records label.
24
Vivace Chorus
Jeremy
is
one
of
Britain’s
leading
conductors of amateur choirs. He began
! his musical career in Canterbury Cathedral
| where he was Senior Chorister. In 1980 he
was appointed Music Editor at the RNIB,
where
he
was
responsible
for
the
transcription of print music into Braille. He
has worked for both EMI Classics and later
Boosey & Hawkes Music Publishers as a
Literary Editor, but now pursues his career
as a freelance conductor.
Fhdoarani: Ash ik
Jeremy has been the sole conductor of the
internationally-renowned
chamber
choir
Vasari Singers since its inception in 1980. Since winning the prestigious
Sainsbury’s Choir of the Year competition in 1988, the Vasari Singers
has performed regularly on the South Bank and at major concert venues
in London, as well as in many of the cathedrals and abbeys of the UK.
Jeremy and the Vasari Singers have broadcast frequently on BBC
Radios 3 and 4, and have a discography of over 25 CDs on the EMI,
Guild, Signum and Naxos labels, and have just launched their own label
with a recording of Jonathan Rathbone’s Under the shadow of His wing,
which they premiered last year.
In January 1995, Jeremy was appointed Music Director of the Vivace
Chorus (then the Guildford Philharmonic Choir). Alongside the standard
classical works, Jeremy has conducted the Vivace Chorus in some
ambitious programmes, including Howells’ Hymnus Paradisi and
Szymanowski’'s Stabat Mater, Mahler's ‘Resurrection’ Symphony (No. 2),
Prokofiev’'s Alexander Nevsky and Ivan the Terrible, Mahler's ‘Symphony
of a Thousand’ (No. 8) and Verdi’s Requiem in the Royal Albert Hall with
the Royal Philharmonic Orchestra, and Britten’s War Requiem.
In January 2009 Jeremy took up the post of Music Director of the
Salisbury Community Choir. His first major engagement with them was
the opening concert of that year’s Salisbury International Arts Festival, in
Salisbury Cathedral, premiering a vast new work by Bob Chilcott entitled
Salisbury Vespers. In 2013 the choir celebrated its 215t Anniversary with
a major concert in Salisbury Cathedral in October, featuring the world
premiere of a specially-commissioned community work by Will Todd, The
City Garden, which they subsequently toured to Lincoln (2014) and
Guildford (2015).
Vivace Chorus
25
the
SBrapenore
sinfonia
Artistic Director — Robert Porter
Associate Music Director — Sarah Tenant-Flowers
The Brandenburg Sinfonia is one of the most dynamically versatile
musical organisations in the country. It is renowned for its special quality
of sound and poised vivacity in performance. The orchestra performs
regularly in the majority of the major venues across the country, and in
London at the Barbican, Royal Albert Hall, Queen Elizabeth Hall,
Fairfield Halls and St John's, Smith Square. The Brandenburg Sinfonia is
also in great demand abroad and has visited France, USA, Bermuda, the
Channel Islands, Barbados, Russia, Germany, Japan and Hong Kong. In
1999 the orchestra established major concert series at both St Martin-inthe-Fields and Crystal Palace Bowl.
A large number of artists of international standing have worked with the
orchestra including Emanuel Hurwitz, Lesley Garrett, John Georgiadis,
John Wallace, Michael Thompson and Gordon Hunt. Its repertoire
ranges from Bach to Lloyd Webber and its members give around 100
performances of orchestral, chamber, choral and operatic music during
the year.
Violin 1
Tom Piggott-Smith
Ciaran McCabe
James Widden
Eleanor Parry-
Cello
Jame Barralet
Louise Mc Monagle
lain Ward
Sarah Westley
Dickenson
Alex Afia
Maria Ryan
Miriam Teppich
Sarah Sexton
Violin 2
Elizabeth van Ments
Clarinet
Tom Lessells
James Maltby ***
Bassoon
Jon Price
Bass
David Ayre
Sam Rice
Flute
[an Mullin
Elizabeth Trigg
Contra Bassoon
Tom Hardy
Horn
;
Willemijn
Steenbakkers
Kimberley Boyle
Chloe Vincent *
Martin Grainger
Alex Wide
Eluned Pritchard
Oboe
Elise Campbell
Marie Schreer
Edward Webb
:
Ktrsty o
Viola
26
Hugh Sisley
Lydia Griffiths
Rachel Broadbent **
Chris Cotter
Richard Deacon
*and piccolo
**and cor anglais
Tuba
Nick Etheridge
Timpani
James Bower
,
Percussion
Joe Mathers
Olly Lowe
Ben Lewis
¥
Trumpet
Sam Kinrade
A
James Sleigh
Chris Pitsilledes
Charlotte Bonneton
Triona Milne
Trombone
Susan White
Emma-Juliette
Hodgson
Dougall Prophet
arp
Vicky Lester
Piano
Malcolm Hicks
*** and Eb clarinet
Vivace Chorus
Farnham Youth Choir
Director: David Victor-Smith
Assistant Director: Joanna Bywater
Farnham Youth Choir is
one of the UK’s leading
upper voice youth choirs
)
and currently holds the
titte European Children’s
Choir Champions, 2015.
Choristers
are
drawn
from some 20 schools
,
g
i/
¥
|
both state and private in a 15 mile radlus of Farnham Surrey, many
having begun their singing career in one of the organisation’s three junior
choirs.
FYC’s normal repertoire year on year would cover some 30 songs
performed from memory, including many different styles and spanning
several centuries of choral music. However, the choir is often in demand
to perform semi-choruses in concerts such as this tonight. Indeed, in
recent years it joined Vivace Chorus for performances of John Rutter's
Mass of the Children.
In its own right, FYC has won a string of national and international
awards for choral excellence and has appeared on national television on
several occasions including in the presence of HM The Queen at the
Festival of Remembrance at the Royal Albert Hall. FYC has performed in
concert with the King's Singers, with John Rutter and the Royal
Philharmonic Orchestra and has made nine CDs of repertoire since
1993. In addition, the choir has worked on recording projects with John
Rutter on two occasions and was invited to give the UK premier
performance of his Mass of the Children.
The choir has performed all over the world, notably China, Singapore,
Australia, USA and mainland Europe, and was the only choir
representing the UK in the World Choir Games in Cincinnati, USA in July
2012 returning with one gold and one silver medal. (www.fyc.org.uk)
Eleanor Austin
Isobel Austin
Montague Austin
Melissa Bensley
Millicent Brake
Caroline Brown
Felicity Bryant
Amelie Budd
Vivace Chorus
Eleanor Burden
Tabitha Chapman
Isobel Cole
Laura Denton
Rachel Dicker
Rebecca
Geoghegan
Holly Giles
Charlotte Gill
Annia Grey
Catherine Harris
Anna Hinchliff
Megan Holmes
Samuel Kammin
Hannah Larkin
Eloise Marlow
Jess Miller
Katie Parr
Siena Pugsley
Phoebe Repp
Lorna Shephard
Lucy Smith
Sally Spackman
Emma Stonehouse
Annie Wheeler
Alice Woolman
27
Vivace Chorus
Music Director: Jeremy Backhouse
Accompanist: Francis Pott
Chairman: James Garrow
Vivace Chorus is a flourishing and adventurous choir based here in
Guildford, Surrey. We have two aims: to make music of the highest
standard and to have fun while doing so.
The choir has come a long way since it began some 67 years ago as the
Guildford Philharmonic Choir, gaining over time an enviable reputation
for performing first-class concerts across a wide
range of musical
repertoire.
Since 1995, Vivace has thrived under the exceptional leadership of this
evening’s conductor, Jeremy Backhouse. Jeremy’s passion for choral
works and his sheer enthusiasm for music-making are evident at every
rehearsal and every performance. He is supported by Francis Pott, who
is not just a very fine rehearsal accompanist but is also a composer of
international repute and an accomplished concert pianist.
Our repertoire spans more unusual works such as Prokofiev's Alexander
Nevsky as well as the great choral masterpieces of Bach, Brahms,
Handel, Haydn, Mozart and Verdi, and the more intimate works of Fauré,
Tavener, Allegri and Lauridsen. We also actively promote the classics of
the
future
with
our
‘Contemporary
Choral
Classics’
series,
commissioning new works when funds allow.
Particular successes have included a sell-out performance in May 2011
of Mahler's Symphony No. 8, the ‘Symphony of a Thousand’, at the
Royal Albert Hall, a highly acclaimed performance in November 2012 of
Britten’s War Requiem, and another Royal Albert Hall success in May
last year, when we performed the Verdi Requiem.
In addition to our own concerts, we also sing in various charity concerts
and, with our regular orchestra, the Brandenburg Sinfonia, take part in
the Brandenburg Choral Festival each year in St Martin-in-the-Fields. We
also, on occasion, venture further afield and have visited Germany many
times over the years to sing with the Freiburg Bachchor.
Other trips abroad have included a tour, in June 2009, of north-west
France when we sang in the cathedrals of Paris (Notre-Dame), Rouen
and Beauvais, while in 2012 we headed across France to Strasbourg,
28
Vivace Chorus
Rehearsing in the Royal Albert Hall
"
Photography: Ash Mills
giving concerts there and in Heidelberg and Freiburg. In 2014, we spent
a wonderful few days in ltaly, where we gave three concerts, in Verona,
Mantua and Venice.
If that whets your appetite, do come
and join us! We rehearse on Monday
evenings in the Millmead Centre,
Millmead, Guildford. Just turn up
(before
7.15),
or
contact
our
membership secretary Jane Brooks
at membership@vivacechorus.org.
For
further
information
about
the
A Concert for Rowan, May 2015
"We cannot thank you enough for putting on such an
:
N-
amazing evening. It was so overwhelmingly moving at
&-
@/
F
Vivace Chorus
times. We give top marks to all the choirs ..."
"The combined choirs were amazing. It was like a’
wall of sound hitting us.”
29
Vivace Chorus Singers
FIRST SOPRANO
Pam Alexander
Helen Beevers
Joanna Bolam
Mary Broughton
Elaine Chapman
Rachel Edmondson
Rebecca Kerby
Mo Kfouri
Alex Nash
Emily Nash
Susan Norton
Robin Onslow
Margaret Parry
Gillian Rix
Joan Thomas
Hilary Vaill
SECOND
SOPRANO
Jacqueline Alderton
Ginny Heffernan
Sheila Hodson
Isobel Humphreys
Averell Kingston
Krystyna Marsden
Isabel Mealor
Alison Newbery
Alison Palmer
Kate Peters
Paula Sutton
Valerie Thompson
Christine Wilks
Fiona Wimblett
Frances Worpe
FIRST ALTO
Monika Boothby
Jane Brooks
Liz Durning
Kate Emerson
Valentina Faedi
Atalia Fuller
Judith Lewy
Lois McCabe
Penny McLaren
Kay McManus
Christine Medlow
Mary Moon
Penny Muray
Lilly Nicholson
Gill Perkins
Linda Ross
Lesley Scordellis
Catherine
Shacklady
Carol Sheppard
Ann Smith
Marjory Stewart
Jo Stokes
Nicola Telcik
Hilary Trigg
Pauline Higgins
Barbara Hilder
Carol Hobbs
FIRST BASS
Phil Beastall
Richard Broughton
Beth Jones
Roz Marshall
Catherine
Middleton
Simon Browning
Michael Dudley
Brian John
Jeremy Johnson
Jon Long
Chris Newbery
Chris Peters
David Ross
Kieron Walsh
Jacqueline
Norman
Beryl Northam
Sheila Rowell
Prue Smith
Rosey Storey
Anne Whitley
SECOND BASS
June Windle
Elisabeth Yates
Peter Andrews
FIRST TENOR
Mike Bishop
Bob Bromham
Bob Cowell
Tim Hardyment
Martin Price
Chris Robinson
John Trigg
Norman Carpenter
Geoffrey Forster
James Garrow
Nick Gough
Eric Kennedy
John Parry
Roger Penny
Michael Taylor
John Yeomans
SECOND TENOR
Ewan Bramhall
SECOND ALTO
Evelyn Beastall
Sylvia Chantler
Mary Clayton
Sheila Cooper
Sheena Ewen
Peter Butterworth
Tony Chantler
Simon Dillon
Liz Hampshire
Jon Scott
John Thornely
Geoff Johns
Stephen Linton
Peter Norman
Some of the printed music for this evening's concert has been hired from
Surrey County Council Performing Arts Library.
A Concert for Rowan, May 2015
"My guests were absolutely blown away by the concert on Saturday”
30
Vivace Chorus
Vivace Chorus Patrons
The Vivace Chorus is extremely grateful to all patrons for their support.
Honorary Life Patrons:
Mr Bill Bellerby MBE
Dr John Trigg MBE
Mr John Britten
Life Patron:
Mrs Joy Hunter MBE
Premier Patrons:
Dr Marianne llisley
Robin & Penny Privett
Platinum Patrons:
Mr & Mrs Stephen Arthur
John McLean OBE & Janet McLean
Mr & Mrs Peter B P Bevan
Ron & Christine Medlow
Richard & Mary Broughton
Mr Lionel Moon
Mr & Mrs G Dombrowe
Dr Roger Muray
Mr & Mrs Joseph Durning
Mr & Mrs John Parry
Celia and Michael Embleton
Dr & Mrs
Susan & Cecil Hinton
Idris Thomas
Mrs Carol Hobbs
Mrs Pamela Usher
Mrs Rita Horton
Bill & June Windle
M G M Smith
Mr Michael Jeffery
Gold Patrons:
Robin & Jill Broadley
Mr & Mrs Maxwell S New
Roger & Sharon Brockway
Brenda & Brian Reed
Jane Kenney
Sheila Rowell
Mr Geoffrey Johns
Prue & Derek Smith
Dr Stephen Linton
Silver Patrons:
Mrs Iris Bennett
Bob & Maryel Cowell
If you have enjoyed this concert, why not become one of our patrons?
We have a loyal band of followers whose regular presence at our
concerts is greatly appreciated. With the valued help of our patrons, we
are able to perform a wide range of exciting music, with world-class,
professional musicians in venues such as Guildford Cathedral, G Live
and the Royal Albert Hall. Patrons enjoy discounts of between 10% and
30% off concert tickets, reserved seating and priority booking for the best
seats for as little as £50pa. If you are interested, please contact Joan
Thomas on 01483 893178 or email: patrons@vivacechorus.org.
Vivace Chorus
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Vivace Chorus dates for your diary!
The Mayor of Guildford's Christmas Carol Concert
Sunday 13 December 2015 7pm Holy Trinity Church, Guildford
A delightful programme of carols old and new, supporting the Mayor of
Guildford's Christmas Charity. A lovely start to your Christmas season!
Vivaldi Gloria by Candlelight
Thursday 14 January 2015 7.00pm St Martin-in-the-Fields, London
Jeremy Backhouse conducts Vivace Chorus and the Brandenburg
Sinfonia in Vivaldi's much-loved
Gloria, together with Bach's
Violin Concerto in E minor and Brandenburg Concerto no. 3.
Vivace Chorus ‘Come and Sing’
Saturday 23 January 2015 10.00am — 4.30pm Normandy Village Hall
Join Jeremy and the choir for a day learning and singing some very
beautiful music: the Duruflé Requiem and Poulenc’s Stabat Mater.
A Night at the Opera
Saturday 5 March 2015 7:30pm G Live, Guildford
Another night of some of the most wonderful opera choruses and songs
— a sell-out last time, so early booking recommended!
Further details at vivacechorus.org
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Excerpts from a review in the Surrey Advertiser of
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The City Garden, Will Todd; Salisbury Vespers, Bob Chilcott.
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A Concert for Rowan, May 2015
.. a quite outstanding concert. Jeremy Backhouse conducted
a choir of over 300 and Southern Pro Musica orchestra in a
charity concert in aid of the Rainbow Trust, which provides support for
children with a life threatening illness ... The choir was made up of Guildford's
Vivace Chorus, The Salisbury Community Choir and The Vasari Singers from
London. A vital contribution came from "Rowan's Choir" made up of pupils from
George Abbot, Tormead and Queen Eleanor's schools whose music teachers are
to be congratulated .. Will Todd's The City Garden was sung very movingly ...
Particularly effective was the singing in the quiet, sensitive passages. It was
very moving to hear so many voices singing so magnificently together ... This was
a most happy occasion and the sell-out audience greatly appreciated it.
Printed by WORDCRAFT
115 Merrow Woods, Guildford, Surrey GU1 2LJ. Tel: 01483 560735
Vivace Chorus
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Registered Charity No. 1026337
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Fees apply. Calls cost 7p per minute plus your phone company'’s access charge. T T & C's apply. Band A seat for the price of a Band B & |
glass of house champagne per ticket booked. Subject to availability. Cannot be used retrospectively or in conjunction with any
other offer. A £4.90 per ticket booking fee & £2.85 transaction fee applies.
The Glyndebourne Tour is supported by Arts Council England. Tour 2015 is sponsored by Daily Mail
Don Pasquale photograph by Bill Cooper || awscainci Mlu Mail
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Book your own seats 24 hours a day using the interactive seating plan at GLive.co.uk