GUILDFORD PHILHARMONIC CHOIR
Registered as a Charity No.
1026337
President: Sir David Willcocks, CBE, MC.
Chorus Master: Jeremy Backhouse
Accompanist: Jeremy Filsell
Chairman: John Shigg, 13 Vicarage Gate, Onslow Village, Guildford, GU2 5Q). Tel. 01483 823084
Secretary: Michael Dawe, 153 Wordsworth Mead, Redhill Suey, RH1 1AL. Tel. 01737 780210
Treasurer: Christopher Robinson, The Coach House, Station Road, Godalming, Surrey, GU7 1EX. Tel. 01483 428400
Membership Sec: Noreen Ayton, 51
Garrich Close, Hersham, Watton on Thames, Surrey, Ki
2 5NZ. Tel. 01932 221918
Development Officer: Stephen epson, Clereholt, Felday Glade, Holmbury St Mary, Dorking, Surrey, RH5 6G. Tel. 01306 730383
CONCERT ETIQUETTE
The quality of a concert performance perceived by an audience can be immensely enhanced if “ensemble”
can be extended to general on-stage choir discipline. The converse is also true. If all choir members follow
these guidelines, we should be well on the way to stardom!
These guidelines apply unless an announcement has been made to vary them, usually during the Tutti
Rehearsal, but sometimes also during the Final Piano Rehearsal.
Before the Tutti Rehearsal
1. For a Cathedral performance: Arrive in good time and assemble in voice-part groups in the Nave at
least 20 minutes before the scheduled “start” time. Be alert. About 10-15 minutes before the scheduled
start time, the Choir Stage Manager (CSM) will arrange the choir on the tiered staging in accordance with
a prearranged plan, with some fine-tuning to accommodate last-minute drop-outs etc. Focus attention on
him and do not talk, otherwise his/her instructions will not be heard and much time will be wasted. This will
not give a good impression to the orchestra, soloists or visiting conductor. Normally the Basses and
Tenors are seated first, then 2"" Sopranos/1* Altos, followed by 1*t Sopranos/2"TM Altos. Gaps are then
closed, “look” and “balance” adjusted, and gangways kept as clear as possible for safety reasons. Once
settled, note your position, who your neighbours are, and how many tiers up you are. The CSM will
identify the “lead-on” and “lead-off’ persons. If you are in a “lead-on” (centre-stage) or “lead-off” (end-ofrow) position (see below), note also who the corresponding “lead-off’ person is in the next tier up your side
(or who the “lead-on” person is in the tier below) because you will need to know this later. Note also who
the two lead-on persons are in the frontmost tier, as they will lead the “stands” and “sits” at the beginning
and end of the concert.
2. For a performance in the Civic Hall: The above generally applies, except that bench positions and
chairs will have been labelled with voice parts beforehand and you may take those places directly.
During the Tutti Rehearsal: Avoid chatting!
For the Concert Itself
Dress for Ladies: Black long-sleeved blouse and ankle-length black skirt. Black shoes. Ear-rings and
necklaces should only be worn if they are essentially non-reflecting. Minimal (and only black) handbags.
Dress for Men: Conventional Black Dinner-Jacket & Trousers. White shirt with normal (ie not “wing’) collar
and black bow-tie. Black shoes.
Music: |n Black GPC Music Folders (unless instructed otherwise). Do not take anything else onto the
Stage, and particularly, do not take on water bottles!
Entry
Fifteen minutes before the scheduled start of the performance, assemble “off-stage” in the order in which
you will “enter”. In the Cathedral, this “line-up” takes place in the North and South Ambulatories, and in the
Civic Hall, on the stairs and in the corridors leading to the upper and lower P & OP stage entrances. In
both places, this causes much congestion, so keep noise levels down and keep a gangway clear for
musicians and their instruments.
Five minutes before the start, the CSM will signal the “lead-on” to start simultaneously in single file from
both sides. In the Cathedral, the topmost tier is filled first, with the two first “lead-on” persons meeting in
the middle and everybody remaining standing facing the audience. Subsequent tiers are filled in the same
way, working downwards, from the centre outwards. When the last two “lead-off” persons are in place on
the lowest tier, the whole choir sits together, following the lead of the two frontmost tier “lead-on” persons.
ConcertEtiquette1.doc, Page 1
If (unusually at the Cathedral) there is a long interval and the choir can leave the stage during it, “leadingoff’ follows the reverse procedure. “Leading-on” after the interval will commence five minutes before the
end of the interval.
When leading off, follow a single file line to the stairway at the outside of your row and then use the
stairway. NEVER take a short cut down the tiering in the Cathedral as one person’s slip can instantly
change to a “domino” type disaster.
In the Civic Hall, the procedure is similar, but as there are more variations the CSM will give more verbal
instructions. Listen to him/her and remember the instructions.
Appear alert, walk with purpose and at the same pace from both sides of the stage. Once seated, stay
alert, don’t slouch, jostle or fidget, don’t chatter, and never try to catch the attention of someone in the
audience!
Stands and Sits
Stands and Sits during the performed works will either be directed by the Conductor, or will have been
advised during previous rehearsals.
All Stands and Sits should be “as one body”, and not like a “Mexican Wave’.
Stay seated for the entrance of the Orchestra Leader.
Following the front two “lead-on” persons, stand at the start of the applause for the entrance of the
Soloists and Conductor.
Never talk (or applaud) while standing.
At the end of the last work (and to a lesser degree before the interval):
Remain standing while the Conductor acknowledges the applause. He will usually also direct applause
towards the Soloists, the Orchestra Leader, the Orchestra, including any key players (who will also stand
to acknowledge applause) and the Choir. The Conductor will then usually leave the Podium and lead off
the Soloists. The Orchestra Leader will then usually sit, at which point both the Orchestra and Choir also
sit.
Assuming that the applause continues, the Conductor and Soloists will return. The Choir should remain
seated, and may now applaud Soloists etc, but only while seated. The Conductor may specifically direct
applause towards the Choir; in which case the Choir should stand, and remain standing until the
Conductor (and Soloists) again leave, the Choir sitting only when the Leader does as before. Occasionally
the applause will bring the Conductor and Soloists back for a third time, when the same pattern is
followed. The pattern is finished when the Orchestra Leader also leaves, indicating that the concert is
over.
The two front “lead-on” persons now stand, which is the signal for the front row (not the whole choir) to
stand and lead off. This is repeated by the next higher tier until all have left the staging.
The leading-off rules are very important because of the risk of “domino effect”. Never take short cuts down
the tiers, but always stay on your tier until reaching the steps and handrail at the end of the tier. Then
descend steadily. Do not, under any circumstances, follow each other closely or try to hurry.
If you are helping to de-rig the staging in the Cathedral, wait in the South Ambulatory, the Chancel or the
Nave, keeping the North Ambulatory clear for the Instrumentalists and those clearing the larger
instruments. Don’t go back onto the Stage until directed to do so by the Rig Supervisor.
Shrj - 20 April 1999
ConcertEtiquette1.doc, Page 2