“live music at its most heart-thumping”
Verdi
Requiem
National Symphony Orchestra
Conductor: Jeremy Backhouse
Saturday
18 May 2024
at 7.30 pm
Vivace
GUILDFORD
Registered Charity No. 1026337
23/04/2024 12:54
6
Vivace Chorus
Requiem
Giuseppe Verdi
Claire Seaton
Catherine Backhouse
Soprano
Mezzo-Soprano
Richard Dowling
Tenor
Timothy Nelson
Baritone
Vivace Chorus
Liverpool Welsh Choral
National Symphony Orchestra
Conductor: Jeremy Backhouse
Messa da Requiem
Giuseppe Verdi (1813 - 1901)
Portrait of Verdi by
Giovanni Boldini (1886)
When Rossini died in 1868, Verdi
proposed that a Requiem should
be written in honour of the great
man. Thirteen leading Italian
composers, including himself,
would each be invited to
contribute
a
movement.
Somewhat predictably, initial
enthusiasm for the idea soon
gave way to all sorts of
professional rivalries, and when it
also became clear that the piece
would be little more than an
unconvincing
pot-pourri,
the
scheme had to be abandoned.
In 1873 the Italian poet, novelist and national hero Alessandro
Manzoni died. Verdi had been a lifelong admirer and was
deeply affected by his death. He decided to write a Requiem
in Manzoni’s memory, and began by re-working the Libera me
which he had composed five years earlier for the ill-fated
Rossini project. Though it is Verdi’s only large-scale work not
intended for the stage, the Requiem is unashamedly theatrical
in style, with passages of great tenderness and simplicity
contrasting with intensely dramatic sections. Writing at the
time, the eminent conductor and pianist Hans von Bülow aptly
described it as ‘Verdi’s latest opera, in church vestments’.
The first performance of the Messa da Requiem took place on
22nd May 1874, the first anniversary of Manzoni’s death, in St.
Mark’s Church, Milan. Special permission had to be obtained
2
Vivace Chorus
from the Archbishop for the inclusion of the female choristers,
who were hidden behind a screen and clad in full-length black
dresses and mourning veils. Though it was a successful
performance, the restrained circumstances and prohibition
against applause produced a somewhat muted reaction.
Second performance of the Requiem, at La Scala on 25 May 1874, with Verdi
conducting. Artist: Osvaldo Tofani (1849-1915). Engraved by Baldi
In contrast, the second performance three days later, at La
Scala Opera House, was received by the capacity crowd with
tumultuous enthusiasm. The Requiem became an overnight
sensation, and was equally ecstatically received at the many
European performances that soon followed.
Its British premiere took place in May 1875 at the Royal Albert
Hall, conducted by Verdi himself, with a chorus of over 1000
and an orchestra of 140. One journalist described the work as
‘the most beautiful music for the church that has been produced
since the Requiem of Mozart’ – a view that was echoed by most
people. However, a significant minority found it offensive that
Verdi, an agnostic, should be writing a Requiem. For them the
very qualities which made his music so ideally suited to the
Vivace Chorus
3
theatre made it wholly unacceptable for the church. Today this
difference between traditional sacred music and Verdi’s
operatic treatment of the Requiem text no longer presents a
problem.
The work begins with a hushed and solemn falling phrase on
the cellos, a motif that recurs later. After the opening Requiem
aeternam (Rest eternal), the Kyrie follows, introduced by the
four soloists. Here the operatic nature of the piece is clearly
revealed, with its expansive rising melody and wide dynamic
contrast.
The lengthy second movement, Dies irae (Day of wrath, day of
judgement), is a sequence of nine widely contrasting sections
containing some of Verdi’s most dramatic and emotional
music, notably the terrifying Dies irae theme with doom-laden
thunderclaps provided by the bass drum; the on- and off-stage
trumpets representing the ‘last trump’ of Biblical prophecy; and
the tender pleading of the Salva me (Save me). The Dies irae
motif is never far away, but eventually the terrors of the Last
Judgement give way to the heartfelt Lacrymosa dies illa (That
tearful day), and quiet final prayer, Dona eis requiem (Grant
them peace).
For the Offertory Verdi adopts a much more liturgical idiom,
with a predominantly four-part vocal texture over a restrained
accompaniment for the soloists’ Domine Jesu Christe. Trumpet
fanfares announce the exhilarating Sanctus & Benedictus, an
animated fugue for double chorus based on an inversion of the
opening cello motif, with colourful, scurrying orchestral writing.
The Agnus Dei sounds at first as if it is from some remote
region. After the rich romanticism of much of the earlier music,
Verdi presents us with an austere, unaccompanied duet, in
bare octaves. The chorus answers, also in octaves but with the
addition of a small group of instruments, and then, as the
4
Vivace Chorus
second and third statements of the Agnus Dei text progress,
the music grows in richness and warmth. Lux aeterna (Light
eternal) is a short movement for a trio of solo voices,
sometimes unaccompanied and sometimes supported by
shimmering strings.
After the chant-like opening of the final movement, Libera me
(Deliver me), and a short arioso for the soprano soloist, Verdi
returns to the original Dies irae and Requiem aeternam themes.
The extended final section of the work is another energetic
fugue, again loosely based on a version of the cello motto.
After a tremendous climax the work gradually moves towards
a quiet end, though the concluding prayer of supplication,
surely reflecting Verdi’s own uncertainty, noticeably lacks the
final serenity and assurance of salvation found in most other
Requiems.
Few choral works have captured the public imagination in the
way that Verdi’s Requiem has. The uncomplicated directness of
his style, his soaring, lyrical melodies which lie perfectly for the
human voice, the scintillating orchestration and, most
significantly, the work’s extraordinary dramatic and emotional
intensity, all contribute to the Requiem’s status as one of the
great icons of Western music.
Programme note © John Bawden MMus (University of Surrey)
There will be no interval in this performance
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.
Vivace Chorus
5
1. Requiem & Kyrie eleison
Choir, solo quartet
Requiem æternam dona eis,
Domine: et lux perpetua luceat
eis.
Eternal rest give unto them, O
Lord, and let perpetual light
shine upon them.
Te decet hymnus, Deus, in Sion,
et tibi redetur votum in
Jerusalem: exaudi orationem
meam, ad te omnis caro veniet.
A hymn, O God, becometh
Thee in Zion; and a vow shall
be paid to Thee in Jerusalem:
hear my prayer; all flesh shall
come to Thee.
Requiem æternam dona eis,
Domine: et lux perpetua luceat
eis.
Eternal rest give unto them, O
Lord, and let perpetual light
shine upon them.
Kyrie, eleison.
Christe, eleison.
Kyrie, eleison.
Lord, have mercy.
Christ, have mercy.
Lord, have mercy.
2. Dies irae
Choir
Dies irae, dies illa,
Solvet saeclum in favilla,
Teste David cum Sibylla.
The day of wrath, that day will
dissolve the world in ashes,
as David and the Sibyl
prophesied.
Quantus tremor est futurus,
Quando judex est venturus,
Cuncta stricte discussurus!
What trembling there will be
When the judge shall come
to weigh everything strictly!
Choir, Baritone solo
Tuba mirum spargens sonum
Per sepulcra regionum,
Coget omnes ante thronum.
6
The trumpet, scattering its
awful sound
Across the graves of all lands
Summons all before the throne.
Vivace Chorus
Mors stupebit et natura,
Cum resurget creatura,
Judicanti responsura.
Death and nature shall be
stunned
When mankind arises
To render account before the
judge.
Choir, Mezzo solo
Liber scriptus proferetur,
In quo totum continetur,
Unde mundus judicetur.
The written book shall be
brought
In which all is contained
Whereby the world shall be
judged.
Judex ergo cum sedebit,
Quidquid latet apparebit.
Nil inultum remanebit.
When the judge takes his seat
all that is hidden shall appear
Nothing will remain unavenged.
Dies irae, dies illa,
Solvet saeclum in favilla,
Teste David cum Sibylla.
The day of wrath, that day will
dissolve the world in ashes,
as David and the Sibyl
prophesied.
Choir, Soprano, Mezzo, Tenor
solos
Quid sum miser tunc dicturus?
Quem patronum rogaturus,
Cum vix justus sit securus?
What shall I, a wretch, say then?
To which protector shall I appeal
When even the just man is
barely safe?
Choir, solo quartet
Rex tremendae majestatis
qui salvandos salvas gratis
salva me, fons pietatis.
Vivace Chorus
King of awful majesty
You freely save those worthy of
salvation
Save me, fount of pity.
7
Soprano, Mezzo solos
Recordare, Jesu pie,
Quod sum causa tuae viae:
Ne me perdas illa die.
Remember, gentle Jesus
that I am the reason for your time
on earth,
do not cast me out on that day.
Quaerens me, sedisti lassus:
Redemisti crucem passus:
Tantus labor non sit cassus.
Seeking me, you sank down
wearily,
you saved me by enduring the
cross,
such travail must not be in vain.
Juste judex ultionis,
Donum fac remissionis,
Ante diem rationis.
Righteous judge of vengeance,
award the gift of forgiveness
before the day of reckoning.
Tenor solo
Ingemisco tanquam reus,
Culpa rubet vultus meus:
Supplicanti parce, Deus.
I groan as one guilty,
my face blushes with guilt:
spare the supplicant, O God.
Qui Mariam absolvisti,
Et latronem exaudisti,
Mihi quoque spem dedisti.
Thou who did not absolve Mary
and hear the prayer of the thief
hast given me hope, too.
Preces meae non sunt dignae,
Sed tu, bonus, fac benigne,
Ne perenni cremer igne.
My prayers are not worthy,
but Thou, O good one, show
mercy,
lest I burn in everlasting fire.
Inter oves locum praesta,
Et ab haedis me sequestra,
Statuens in parte dextra.
Give me a place among the
sheep,
and separate me from the goats,
placing me on Thy right hand.
8
Vivace Chorus
Choir, Baritone solo
Confutatis maledictis
Flammis acribus addictis,
Voca me cum benedictus.
.
When the damned are
confounded
and consigned to keen flames,
call me with the blessed.
Oro supplex et acclinis,
Cor contritum quasi cinis:
Gere curam mei finis.
I pray, suppliant and kneeling,
a heart as contrite as ashes:
take Thou my ending into Thy
care.
Dies irae, dies illa,
Solvet saeclum in favilla,
Teste David cum Sibylla.
The day of wrath, that day will
dissolve the world in ashes,
as David and the Sibyl
prophesied.
Choir, solo quartet
Lacrimosa dies illa,
Qua resurget ex favilla,
Judicandus homo reus.
That day is one of weeping,
on which shall rise again from
the ashes,
the guilty man, to be judged.
Huic ergo parce, Deus:
Pie Jesu Domine:
Dona eis requiem. Amen.
Therefore spare this one, O God,
merciful Lord Jesus:
Give them rest. Amen.
3. Domine Jesu Christe
Solo quartet
Domine Jesu Christe, Rex
gloriæ, libera animas omnium
fidelium defunctorum de pœnis
inferni et de profundo lacu:
Lord Jesus Christ, King of glory,
deliver the souls of all the
faithful departed from the pains
of hell and from the bottomless
pit:
Libera eas de ore leonis,
ne absorbeat eas tartarus,
Deliver them from the lion's
mouth,that Tartarus swallow
them not up,
Vivace Chorus
9
ne cadant in obscurum: sed
signifer sanctus Michael
repræsentet eas in lucem
sanctam, quam olim Abrahæ
promisisti, et semini eius.
that they fall not into darkness,
but let the standard-bearer holy
Michael lead them into that holy
light, which Thou didst promise
of old to Abraham and to his
seed.
Hostias et preces tibi, Domine,
laudis offerimus: tu suscipe pro
animabus illis, quarum hodie
memoriam facimus:
We offer to Thee, O Lord,
sacrifices and prayers: do Thou
receive them on behalf of those
souls of whom we make
memorial this day:
Fac eas, Domine, de morte
transire ad vitam, quam olim
Abrahæ promisisti, et semini
eius.
Grant them, O Lord, to pass from
death to that life, which Thou
didst promise of old to Abraham
and to his seed.
Libera animas omnium fidelium
defunctorum de poenis inferni
et de profundo lacu, de morte
transire ad vitam.
O Lord deliver the souls of all
the faithful departed from Hell
and the dark pit, to pass out of
death into life everlasting.
4. Sanctus
Choir
Sanctus, Sanctus, Sanctus
Dominus Deus Sabaoth.
Pleni sunt cæli et terra gloria
tua.
Hosanna in excelsis.
Holy, holy, holy,
Lord God of Hosts.
Heaven and earth are full of Thy
glory.
Hosanna in the highest.
Benedictus qui venit in nomine
Domini.
Hosanna in excelsis.
Blessed is He Who cometh in
the Name of the Lord.
Hosanna in the highest.
10
Vivace Chorus
5. Agnus Dei
Choir, Soprano, Mezzo solos
Agnus Dei, qui tollis peccata
mundi, dona eis requiem.
Lamb of God, Who takest
away the sins of the world,
grant them rest.
Agnus Dei, qui tollis peccata
mundi, dona eis requiem.
Lamb of God, Who takest
away the sins of the world,
grant them rest.
Agnus Dei, qui tollis peccata
mundi, dona eis requiem
sempiternam.
Lamb of God, Who takest
away the sins of the world,
grant them eternal rest
6. Lux Aeterna
Mezzo, Tenor, Baritone solos
Lux æterna luceat eis,
Domine:
May light eternal shine upon
them, O Lord,
Cum Sanctis tuis in æternum,
quia pius es.
With Thy Saints for evermore,
for Thou art gracious.
Requiem æternam dona eis
Domine,
Eternal rest give to them O
Lord,
and let perpetual light shine
upon them.
et lux perpetua luceat eis.
7. Libera Me
Choir, Soprano Solo
Libera me, Domine, de morte
æterna, in die illa tremenda:
Deliver me, O Lord, from death
eternal in that awful day:
Quando cæli movendi sunt et
terra:
When the heavens and the
earth shall be moved:
Dum veneris judicare
sæculum per ignem.
When Thou shalt come to
judge the world by fire.
Vivace Chorus
11
Tremens factus sum ego, et
timeo, dum discussio venerit,
atque ventura ira.
Dread and trembling have laid
hold on me, and I fear
exceedingly because of the
judgement and of the wrath to
come.
Dies illa, dies iræ, calamitatis
et miseriæ, dies magna et
amara valde.
O that day, that day of wrath,
of sore distress and of all
wretchedness, that great day
and exceeding bitter.
Requiem aeternam dona eis
Domine, et lux perpetua luceat
eis.
Eternal rest grant unto them O
Lord, and let perpetual light
shine upon them.
Libera me, Domine, de morte
æterna, in die illa tremenda:
Deliver me, O Lord, from death
eternal in that awful day.
Quando cæli movendi sunt et
terra:
When the heavens and the
earth shall be moved.
Dum veneris judicare sæculum
per ignem.
When Thou shalt come to
judge the world by fire.
Libera me, Domine, de morte
æterna, in die illa tremenda:
Deliver me, O Lord, from death
eternal in that awful day.
Libera me.
Deliver me.
End
12
Vivace Chorus
Claire Seaton
Born in Wolverhampton, Claire studied
at the Birmingham School of Music, at
the Royal Academy of Music with Rae
Woodland and Kenneth Bowen, and
then with Linda Esther-Grey. She
joined Kent Opera during her final year
at the Academy, was awarded the
Wessex Glyndebourne Association
Prize in 1998 and in 1999 made her
Glyndebourne Festival Opera debut
singing the role of Vitellia in Mozart's
La Clemenza di Tito.
Soprano
Photo © Benjamin Ealovega
An adaptable soprano, Claire has enjoyed success in the early
music field where she has worked with ensembles such as The
Tallis Scholars and the Gabrieli Consort, with whom she made
her BBC Proms début in Handel’s Dixit Dominus, and is known for
her performances of the soprano solos in Allegri’s Miserere.
Claire’s oratorio experience is extremely broad and she is
particularly renowned for her performances of Verdi’s Requiem,
Brahms’ Ein deutsches Requiem and Mozart’s C Minor Mass. Her
recent repertoire has ranged from regularly performed
favourites such as Verdi’s Requiem and Mozart’s Requiem to less
common works such as Symanowski’s Stabat Mater and Elgar’s
The Light of Life.
Claire’s discography includes the role of The Believer in Rutland
Boughton’s Bethlehem, Brahms' Ein deutsches Requiem with
Jeremy Backhouse and the Vasari Singers, and the world
première of Jonathan Dove’s The Far Theatricals of Day with
Nicholas Cleobury. Claire has also recorded the Pergolesi Stabat
Mater with the counter-tenor Andrew Watts.
Claire has been a member of St Bride’s choir since 1987 and is
very proud of her continued involvement.
Vivace Chorus
13
Catherine Backhouse
Photo © Helena Cooke
Mezzo-soprano
Mezzo-soprano Catherine Backhouse
(no relation of Jeremy!) grew up in
Edinburgh, and began singing as a
chorister in St Mary's Episcopal
Cathedral. She graduated with an
honours degree in music from The
University of Durham and was a
founder member of the a cappella
group Voces8 with whom she sang for
three years before training on the
prestigious Opera Studies and Artist
Diploma programmes at the Guildhall
School of Music and Drama.
She was a Scottish Opera Emerging Artist and won the Sunday
Herald Culture Award for Best Musical Artist for her
performances. Career highlights include many operatic roles,
for example Suzuki in Puccini’s Madama Butterfly, Kate Julian in
Britten's Owen Wingrave and the title role in Donizetti’s La
Favorite.
On the concert platform she has appeared as a soloist in Bach’s
Christmas Oratorio and Handel’s Messiah, as The Angel in
Elgar’s Dream of Gerontius, Irene in Handel’s Theodora and
Judith in Bartók's Bluebeard’s Castle. An enthusiast of new
music, Catherine has performed Kurtág's Messages of the Late
R.V. Troussova and Last Lines, a concert of newly commissioned
songs with the Hebrides Ensemble.
Her recital work has featured Elgar's Sea Pictures, Wagner's
Wesendonk Lieder, and Emotionally Volatile, a programme of
songs composed by women. She also performs programmes
for voice, viola and piano with her group The Amalie Trio. Future
projects include playing Waltraute in Wagner’s Die Walküre and
Götterdämmerung with Regents Opera in London.
14
Vivace Chorus
Holy i
h
Rosamunde Overture
SchbslE (Die Zauberharfe)
Sibelius
Soloist: lonel Manciu
Violin Concerto
Vaughan
Williams
|
Conductor: Philip Ellis
Holy Trinity Church
Adults: £21
High Street
Ages 21 & under: £5
Guildford
GU1 3RR
Join us at the Royal Albert Hall!
We’re delighted to announce
that we will be putting on a
grand concert at the Royal
Albert Hall next year!
Vivace Chorus at the RAH in 2014
Photo © Ash Mills
Put the date in your diary now
– Sunday July 13th 2025 –
and join us to celebrate
Jeremy Backhouse’s final
concert as Music Director of
the Vivace Chorus.
Jeremy will have been with us for 30 years in 2025, and we have
had many, many musical adventures during that time, including
two astounding concerts at the Royal Albert Hall – Mahler’s 8th
Symphony and Verdi’s Requiem. Jeremy’s taking a well-earned
rest from the end of the 2024/25 season, and we wanted to
mark the occasion with something special.
We’ve invited several choirs to join our ranks, and we are
delighted that Guildford Choral Society, Twickenham Choral
Society, The London Chorus, Tiffin Choirs and Farnham Youth
Choir will be joining us to raise the roof, supported by the Royal
Philharmonic Concert Orchestra and two of the world’s most
celebrated singers, tenor Nicky Spence and soprano Lucy
Crowe. Together, we’ll be performing Ravel’s Daphnis et Chloé,
Poulenc’s Gloria and the Berlioz Te Deum – a wonderful
programme for such an exceptional setting.
Of course, we’d love to perform to a packed house! Tickets will
be on sale soon. If you’d like to be notified when the box office is
open, please email tickets@vivacechorus.org. We won’t use your
email address for any other purpose.
Join us, and tell all your friends!
lor.};‘ éi— |
& & Condlfétf
=
A.I\
"
<
!fi
\L’»
{4,
| B9
B
5
%
-
f;
¢
y
g
v
o
€ /.::>
,',>A
0
/
<
&Y
~
e
VIVACE CHORUS
w
GUILDFORD CHORAL
SOCIETY
THE LONDON CHORUS
y
TWICKENHAM CHORAL
57
Albert Hall
YOUTH CHOIR
Sunday 13 July 20
25
V.
IVaCe
ChO rus
ROVAL
PHILHARMONIC
CONCERT ORCHESTRA
’A\
(]
IIL
J“
Royal Albert Hall
‘
o B
Low-cost, hassle-free
/ Animal Health Certificates.
pe S
gl
Prices start from £89.10.
.
)
A
St Nicolas Church
Great Bookham
is seeking a
EY
oHElo
=]
e T
Director of Music / Organist
To lead our choir and congregation in traditional
and contemporary styles.
If that could be you, or you know someone who
might be interested, details can be found at
www.stnicolasbookham.org.uk/dom
!
Richard Dowling
Richard is a graduate of the Royal
Academy of Music’s Opera Course,
where he performed the role of
Tom Rakewell in Stravinsky’s The
Rake’s Progress as well as a broad
repertoire of art song. With English
Touring Opera, he has appeared in
a staged performance of Britten’s
The Holy Sonnets of John Donne, as
the Cavaliere Belfiore in Rossini’s Il
Viaggio a Reims, as Ferrando in
Mozart’s Cosi fan tutte and as a
soloist in Bach’s St Matthew and St
John Passions.
Tenor
Photo © Benjamin Durrant
He has performed a number of roles over the years with
Garsington Opera, including the Glassmaker in Britten’s Death
in Venice, and Selimo in Rossini’s Maometto Secondo.
Other operatic highlights include performing as Pedrillo in Diva
Opera’s Tokyo production of Mozart’s Die Entführung aus dem
Serail, the role of the Sailor in Birmingham Opera Company’s
production of Purcell’s Dido and Aeneas, as Count Almaviva in
Rossini’s The Barber of Seville with Mid Wales Opera, and as
Nemorino in Donizetti’s L’elisir d’amore with Jackdaws
OperaPLUS project.
He is an original member of Wild Arts, having appeared in
numerous concert programmes and their productions of
Handel’s Messiah and Mozart’s Cosi fan tutte, and returns this
summer to sing the role of Tamino in The Magic Flute.
Richard originally studied Chemical Engineering at The
University of Manchester, where he completed a PhD in the
field of crystallisation.
Vivace Chorus
19
Timothy Nelson
Baritone
Timothy Nelson gained a degree
in
Physiology
from
Cardiff
University before studying at the
Royal
College
of
Music
International Opera School.
There he was awarded the
McCulloch Prize for Opera and
won the Bruce Millar Gulliver
Prize, the Joan Chissell Schumann
Competition and the Gerald
Moore Award Singers Prize.
Photo © Olivia Da Costa
He was also a Jerwood Young
Artist at the Glyndebourne
Festival.
Operatic experience includes Marcello in Puccini's La Bohème
for Opera North, Nathan in the world première of Mark
Simpson's Pleasure for Opera North/Aldeburgh/Royal Opera
House, Sid in Britten's Albert Herring at the Grange Festival,
Anténor in Rameau's Dardanus for English Touring Opera,
Elviro in Handel's Serse for Opera Holland Park, Falke in
Strauss's Die Fledermaus and Escamillo in Bizet's Carmen for
Diva Opera.
Recent solo performances include Karl Jenkins’ The Armed
Man, Handel’s Messiah, Rossini’s Petite Messe Solennelle,
Haydn’s Creation, Bach’s St John Passion and the world
première of Robert Taub’s Some Call it Home.
Away from singing, Timothy is an avid rugby and cricket fan
and a keen golfer. He can often be found on the golf course
trying to lower his handicap.
20
Vivace Chorus
Jeremy Backhouse
Conductor
Jeremy Backhouse is one of Britain’s
leading choral conductors. He began his
musical career in Canterbury Cathedral
where he was Senior Chorister.
Jeremy has been the sole conductor of the
internationally-renowned chamber choir,
Vasari Singers, since its inception in 1980.
Since winning the prestigious Choir of the
Year competition in 1988, Vasari Singers
has performed regularly at major concert
venues and cathedrals throughout the UK
and abroad. Jeremy and Vasari Singers
broadcast frequently on Classic FM and
BBC Radio 3 and have a discography of
over 25 CDs on EMI, Guild, Signum and
Photo © Ash Mills
Naxos. Their recordings have been
nominated for a Gramophone award, received two Gramophone
Editor’s Choice awards, the top recommendation on Radio 3’s
"Building A Library" and two recent CDs both achieved Top Ten
status in the Specialist Classical Charts. He is totally committed to
the performance of contemporary music and, with Vasari, he has
commissioned over 25 new works.
In January 1995 Jeremy was appointed Music Director of the Vivace
Chorus. Alongside the standard classical works, Jeremy has
conducted the Vivace Chorus in some ambitious programmes
including Howells’ Hymnus Paradisi, Szymanowski’s Stabat Mater,
Mahler’s "Resurrection" Symphony, Prokofiev’s Alexander Nevsky and
Ivan the Terrible, then Mahler’s "Symphony of a Thousand" and Verdi’s
Requiem in the Royal Albert Hall with the Royal Philharmonic
Orchestra.
Until July 2022, Jeremy was also the Music Director of the Salisbury
Community Choir. In 2013 the choir celebrated its 21st Anniversary
with a concert in Salisbury Cathedral, premiering a speciallycommissioned work by Will Todd, The City Garden, which they toured
to Lincoln (2014) and Guildford (2015) cathedrals. A new work from
Alexander L'Estrange was premiered in Winchester Cathedral in
November 2018.
Jeremy has also worked with a number of the country's leading
choirs, including the BBC Singers, the London Symphony Chorus,
the Philharmonia Chorus, and the Brighton Festival Chorus.
Vivace Chorus
21
National Symphony Orchestra
Leader: Matthew Scrivener
Principal Conductor: Paul Bateman
The National Symphony Orchestra is one of the longestestablished and most versatile professional freelance
orchestras working in Britain today. Formed during the Second
World War in the 1940s, NSO’s musicians were, by necessity,
young and enthusiastic, and this dynamic performing tradition
continues to this day.
NSO has a hugely impressive recorded legacy as well as a
busy diary of live concert performances. The orchestra is
admired for its versatility and the ability to communicate,
whilst connecting with audiences with consistent commitment
and passion.
In 2024, with Rimma Sushanskaya, NSO is performing and
recording a complete cycle of the Beethoven Symphonies,
including a performance of Beethoven's Choral Symphony at
22
Vivace Chorus
Cadogan Hall on May 7th, which is the exact anniversary, to the
day, of the first performance. NSO will tour to China and New
York, and perform film concerts at the Barbican Centre, as well
as recording the scores for the upcoming television dramas,
Wolf Hall and Father Brown for BBC TV.
The orchestra continues its series of classical concerts in St.
John’s Smith Square, as well as Cheltenham Town Hall where
it recently performed Mahler’s Symphony No. 4. NSO
coordinated a video project for the Women’s Global Orchestra
with Alicia Keys which achieved 5 million YouTube hits in its
first week.
In 2018, NSO topped the classical charts for weeks
collaborating with presenter Alan Titchmarsh and composer
Debbie Wiseman for a project named “The Glorious Garden”.
In 2022, NSO was chosen to perform for Queen Elizabeth in
one of her final appearances, at the Platinum Jubilee
Celebration at Windsor Castle, watched by an audience of
millions.
NSO has toured to Spain with Katherine Jenkins and Alfie Boe
and was proud to play at the ceremony marking the handover
to the nation of the new Defence and National Rehabilitation
Centre in Loughborough in the presence of Prince William and
the Prime Minister.
In July 2023 NSO toured to the Riyadh Film Music Festival for a
series of concerts, immediately after completing recording
projects of new concertos by the Argentine composer, Polo
Piatti, and a new English string music disc for Quartz Records
with Rimma Sushanskaya.
A live vinyl recording of Rimsky-Korsakov’s Scheherazade was
made in May and will be released on the Chasing the Dragon
record label.
Vivace Chorus
23
About Vivace Chorus
Jeremy Backhouse
Francis Pott
Peter Norman
Music Director
Accompanist
Chairman
Vivace Chorus at the Royal Festival Hall, May 2017
Photo © Ash Mills
Vivace Chorus is a flourishing, ambitious and adventurous choir
based in Guildford, Surrey. We enjoy singing traditional choral
classics alongside the challenge of contemporary and newlycommissioned music – there’s something for everyone at
Vivace!
The choir began in 1946 as the Guildford Philharmonic Choir
and was rebranded as Vivace Chorus in 2005. We have an
enviable reputation for performing first-class concerts across a
wide range of musical repertoire. Particular successes include
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 2014
when we performed the Verdi Requiem. In 2017 we celebrated
our 70th birthday with the Philharmonia Orchestra in the Royal
Festival Hall and 2018 saw a sell-out performance at G Live
Guildford for our "Concert for Peace".
24
Vivace Chorus
On 13th July 2025, we plan to
return to the Royal Albert Hall
again, where we will be joined by
other local choirs, the Royal
Philharmonic Concert Orchestra
and internationally renowned
soloists Nicky Spence and Lucy
Crowe, to perform Ravel’s
Daphnis et Chloé Suite, Poulenc’s
Gloria and the spectacular Te
Deum by Berlioz.
Vivace
thrives
under
the
exceptional leadership of our
conductor, Jeremy Backhouse.
Photo © Ash Mills
Jeremy’s passion for choral music and his sheer enthusiasm for
music-making are evident at every rehearsal and performance.
He is supported by Francis Pott, who is an academic and
composer of international repute and an accomplished
concert pianist – who better to accompany our rehearsals?
We have also enjoyed successful European and UK tours,
including trips to France, Italy, Germany, Austria, the Baltic
states and, most recently, northern Spain.
We are always happy to welcome new members, so if you
would like to try us out, do come along to any of our regular
rehearsals on Monday evenings at 7.15 in the Guildford Baptist
Church, Millmead, Guildford.
Just contact our membership secretary, Becky Kerby, at
membership@vivacechorus.org or pay a visit to our website,
vivacechorus.org. You can also follow us on Facebook and X
(Twitter) - @VivaceChorus.
Vivace Chorus
25
Vivace Chorus Singers
FIRST SOPRANO
FIRST ALTO
Sheena Ewen
Stephen Linton
Sandra Adamson
Anna Arthur
Jo Glover
Charles Martin
Sel Adamu
Barbara Barklem
Liz Hampshire
Peter Norman
Amelia Atkinson
Jackie Bearman
Pauline Higgins
Graham Vincent
Jan Barklem
Jane Brooks
Penny Macfarlane
Tim Wray
Helen Beevers
Amanda Burn
Lois McCabe
Mary Broughton
Philippa Curtis
Kay McManus
Jo Haviland
Fiona Davidge
Pamela Murrell
Isobel Humphreys
Sheila Hodson
Sheila Rowell
Fran MacKay
Jean Leston
Lucy Schönberger
Suzie Maine
Lis Martin
Jo Stokes
Michelle Mumford
Charlotte
Rosey Storey
Sue Norton
Mathieson
Pamela Usher
Robin Onslow
Penny McLaren
Alison Vincent
Sarah Smithies
Christine Medlow
June Windle
Joan Thomas
Rosalind Milton
Miriam White
Lilly Nicholson
SECOND SOPRANO
Jacqueline Alderton
Gill Backhouse
Sarah Badger
Jane Barnes
Scarlett Close
Margaret Kay
Isabel Mealor
Alison Palmer
Kate Peters
Mary Somerville
Jackie Payne
Elinor Pinnegar
Linda Ross
Catherine
Shacklady
Marjory Stewart
Julia Stubbs
Nicola Telcik
Hilary Trigg
Anna Williams
Maggie Woolcock
Valerie Thompson
SECOND ALTO
Olwyn Westwood
Geraldine Allen
Christine Wilks
Evelyn Beastall
Eiri Williams
Mary Clayton
26
FIRST BASS
Paul Barnes
Phil Beastall
Richard Broughton
Richard Dacey
Brian John
Jeremy Johnson
Andrew Linden
Jon Long
Keith McClurey
FIRST TENOR
Malcolm Munt
Bob Bromham
Chris Newbery
Bob Cowell
Robin Privett
Andrea Dombrowe
David Ross
Owen Gibbons
Philip Stanford
Rosie Jeffery
Rob Walker
Audrey Kueh
Kieron Walsh
Nick Manning
Martin Price
John Trigg
Susie Walker
SECOND BASS
Peter Andrews
Norman Carpenter
Nick Gough
SECOND TENOR
Mike Johns
Ewan Bramhall
Neil Martin
Peter Butterworth
Chris Peters
Simon Dillon
Andrew Robertson
Geoff Johns
Richard Wood
Vivace Chorus
About Liverpool Welsh Choral
Photo © Neil Hickson
Liverpool Welsh Choral began in 1900 when the Welsh
National Eisteddfod was held in Liverpool. A choir of 400
voices was formed, subsequently becoming the Liverpool
Welsh Choral Union.
LWC, as it is frequently called, represents the union of two
great traditions: the magnificent sound of great Welsh
singing, and the distinctive repertoire of English choral
societies.
The Choir is proud to have had many of the best exponents of
this tradition as guest conductors and musical directors, such
as Sir Malcolm Sargent, Owen Arwel Hughes and our current
patron, Sir Karl Jenkins.
Vivace Chorus
27
The choir’s high reputation and its unique place as a Welsh
Choir in Liverpool has led to many wonderful opportunities to
sing at special events, such as performing with Andrea Bocelli
and with Bryn Terfel and the Philharmonic Orchestra. In
recognition of the role LWC has played in the musical life of
Liverpool, and its role as ambassador for the city, the choir
received in 2013 the great honour of the Freedom of the City of
Liverpool.
Under the dynamic direction of Keith
Orrell, LWC is constantly expanding its
horizons and repertoire in collaboration
with renowned choirs and orchestras.
Keith Orrell
Our members are delighted to be
joining with Vivace in this thrilling
project, singing the Requiem by
Giuseppe Verdi, first in the magnificent
surroundings of Liverpool Anglican
Cathedral, and now in Guildford's
G Live venue.
Keith writes:
Sharing musical performances with other choirs is a very
special experience. The Liverpool Welsh Choral have a history
of sharing. Connections with the Tallaght Choral Society from
Dublin, the Royal Edinburgh Choral Union and Birmingham
Festival Choral Society over the past couple of decades have
reaped magical musical rewards and unforgettable personal
memories.
We are absolutely delighted to be part of tonight's concert,
sharing Verdi's Requiem with the wonderfully welcoming
Vivace Chorus. The joys of a performance we shared under my
direction in Liverpool's gigantic Anglican Cathedral three
28
Vivace Chorus
weeks ago will linger and tonight's concert with Jeremy
Backhouse at the helm I'm sure will be equally memorable.
There is an added connection to our collaboration: Jeremy
and I read music at Liverpool University around the same
time, and we are the two students from that generation who
went on to forge long careers in choral music direction. Sit
back and enjoy!
London Welsh Choral Singers
FIRST SOPRANO
Brenda Coffey
SECOND ALTO
SECOND TENOR
Lynne Battersby
Wena Evans
Hannah Blabey
Andrew Boyle
Ann Blundell
Barbara Jones
Rosemary Gordon David Chamberlain
Wendy Charlton
Liz Jones
Liz Hall
Susy Ejuoneatse
Liz Kelly
Caroline Keating
Sheila Hamilton
Jean Leeson
Rhiannon Liddell
FIRST BASS
Sue Lees
Paige McCormick
Pat Naylor
Jonathan Harris
Kath Norton
Bryn Jones
Romey Lowe
John Mclachlan
Caroline Manley
FIRST ALTO
Michael Pate
Malcolm
Laura McGuffie
Kathy Anstey
Sue Williams
Pembridge
Angela Mellor
Margaret Black
Christopher
Brigitta
Geraldine Boocock FIRST TENOR
Williamson
Michalkiewicz
Hazel Davies
Jean Bray
Clare Orrell
Pam Donaghy
Eryl Dooling
SECOND BASS
Jane Palmer
Susan Donovan
Val Hildrey
David Barker
Phillippa Pennefather Irene Fennell
Andrew Hobson
Peter Barlow
Mair Pierce Moulton
Margaret Heap
Ann Jones
Eddie Bentley
Julia Thomas
Stella McGann
David McCaffrey
Gareth Howells
Annabelle Unsworth
Alison Shead
Peter O'Brien
George Jones
Anne Williams
Eileen Sheron
Mo Payne
Tony Leigh
Sue Taylor
SECOND SOPRANO
Alison Welding
Margaret Anwyl-
Ximena Wormald
Peter Lewis
Williams
Vivace Chorus
29
Vivace Chorus Patrons
The Vivace Chorus is extremely grateful to all patrons for their support.
Honorary Life Patrons
John Britten
James Garrow
John Trigg MBE
Life Patrons
John and Jean Leston
Platinum Patrons
Richard & Mary Broughton
Amanda Burn
Humphrey Cadoux-Hudson CBE
Norman Carpenter
Andrea & Gunter Dombrowe
Rosemary & Michael Dudley
Geoffrey Forster
Susan Hinton
Stephen Linton
John McLean OBE & Janet McLean
Ron & Christine Medlow
Lionel & Mary Moon
Peter Norman
Robin Privett
David & Linda Ross
Geoffrey Johns & Sheila Rowell
Catherine & Brian Shacklady
Prue & Derek Smith
Dennis & Marjory Stewart
Idris & Joan Thomas
Pam Usher
Rob and Susie Walker
Anthony J T Williams
Bill & June Windle
BECOME A VIVACE PATRON
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 G Live, Dorking Halls, the Royal Albert Hall and
the Royal Festival Hall. If you are interested, please contact Anna Arthur by
emailing: patrons@vivacechorus.org.
30
Vivace Chorus
Vivace Chorus dates for your diary
Two by Two
Saturday 6th July 2024 4:00pm
Holy Trinity Church, Guildford
Join us for a relaxed afternoon family concert with a nonsense
theme! We’ll be singing the fantastic Mr Lear, by Alan Bullard, and
the very popular Captain Noah and his Floating Zoo by Michael
Flanders and Joseph Horowitz. Just an hour long, this is the perfect
Saturday afternoon entertainment for you and the family. Why not
bring your favourite stuffed animal along with you?!
A West End Extravaganza!
Saturday November 16th 2024 7:30pm
G Live, Guildford
Join us and the award-winning Friary Band for another night of
songs from the shows! Featuring some of the best-loved
songs from hit West End shows, including Guys & Dolls and
Mamma Mia, we bring the glamour, humour and wonderful
music to your doorstep. Don’t miss it!
The Mayor of Guildford's Christmas Concert
Sunday 15th Dec. 2023, 7:00pm
Holy Trinity Church, Guildford
Join Vivace Chorus and the Mayor of Guildford for the season's most
popular carol concert! Attracting a capacity audience at Holy Trinity
Church on Guildford High Street. This concert is a festive mix of
traditional and contemporary music, along with your favourite
audience carols, all in aid of the Mayor's Local Support Fund.
Further details at vivacechorus.org
Printed by IMPRINT COLOUR LTD
Pegasus Court, North Lane, Aldershot GU12 4QP. Tel : 01252 330683
Vivace Chorus is a Registered Charity No. 1026337
Vivace Chorus
31
‘/
_ The Caribbean comes 0, .
B
" Worplesdon
) H=)
7/
Come andjoin us at The
o
Frlday 16 August
Sidney Sime Gallery
6
Summer BBQ with the
e e
Te & e
SIME
—1o0pm
|
»
Worplesdon Memorial Hall Pavilion
BBQ and bar
Raffle
Music
‘ Bring a picnic blanket/chairs
Booking essential
Tickets £20
Famlly ticket £50 (2 adults & 2 children)
Ticket includes food and 1 complimentary drink.
Funds raised will support the SIME
Gallery’s outreach work in the local
community.
enquiries@sidneysimegallery.org.uk
Telephone: 07415 372620
Charity number: 1188534
|
@ PUEh%TAGE
RIS
i
:
~
ISURRART
CONSTRUCTION
SN
Ewbank’s fi
o
:
|
A CONCERT FOR ALL THE FAMILY!
Two
- byTwo
A family
concert at
Holy Trinity, in
aid of
Home-Start
Vivace
Join us for a relaxed afternoon family
concert in Holy Trinity, Guildford. We’ll be
singing the fantastic and fun Mr Lear, by
Alan Bullard, and the very popular Captain
Noah and his Floating Zoo by Michael
Flanders and Joseph Horowitz. The concert
is just an hour long – the perfect Saturday
afternoon entertainment for children of all
ages!
Saturday
6 July 2024
at 4 pm
Holy Trinity,
Guildford High Street.
Tickets: Adults £15 Children Free
Book online: vivacechorus.org
Registered Charity No. 1207710
Vivace 2024.indd 7
22/04/2024 10:35
FUTURE CONCERTS
A CONCERT FOR ALL THE FAMILY!
VIVACE CHORUS and THE FRIARY BRASS BAND present
Join us for a relaxed afternoon family
concert in Holy Trinity, Guildford. We’ll be
singing the fantastic and fun Mr Lear, by
Alan Bullard, and the very popular Captain
Noah and his Floating Zoo by Michael
Flanders and Joseph Horowitz. The concert
is just an hour long – the perfect Saturday
afternoon entertainment for children of all
ages!
Two
Two
- by-
CONDUCTOR: JEREMY BACKHOUSE
SONGS BY
★
★
Stephen
Sondheim
Andrew
Lloyd Webber
★
Queen
NUMBERS FROM
★
★
★
Les Misérables
Chitty, Chitty
Bang Bang
Guys and Dolls
West Side Story
★
The Lion King
★
The King and I
★
Harry Potter
and the
Philosopher’s
Stone
A family
concert at
Holy Trinity, in
aid of
Home-Start
Saturday
6 July 2024
at 4 pm
Tickets: Adults £15 Children Free
Book online: vivacechorus.org
★
Mamma Mia!
Saturday
16 Nov 2024
at 7.30 pm
Holy Trinity,
Guildford High Street.
Vivace
★
Vivace
Registered Charity No. 1207710
Royal Philharmonic Concert Orchestra
BERLIOZ
TE DEUM
RAVEL
POULENC
DAPHNIS ET CHLOË
GLORIA
Tenor: Nicky Spence
Conductor: Jeremy Backhouse
VIVACE CHORUS
GUILDFORD CHORAL
SOCIETY
THE LONDON CHORUS
TWICKENHAM CHORAL
SOCIETY
TIFFIN CHOIRS
FARNHAM
YOUTH CHOIR
Vivace
Verdi-Programme.indd 1
Royal
Albert Hall
Sunday 13 July 2025
GUILDFORD
Registered Charity No. 1207710
Other dates for your diary
Mayor of Guildford’s
Christmas Concert
Holy Trinity,
15th December 2024
Come and Sing,
Berlioz Te Deum
Guildford Baptist Church,
Millmead,
January 2025 date tbc
Rossini Petite Messe Solennelle
Holy Trinity,
22 March 2025