The Brandenburg Sinfonia
Conductor: Jeremy Backhouse
Saturday
e
th March 2016
.30 pM
Royal Grammar School
Guildford
Founded 1509
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Vivace
Chorus
Claire Seaton
Soprano
Carris Jones
Mezzo-soprano
Peter Davoren
Tenor
Narrators: Gill Perkins and Jon Long
The Brandenburg Sinfonia
Conductor: Jeremy Backhouse
Excerpts from a review in The Surrey Advertiser of the
Carmina Burana concert, November 2015
“The five "Portraits" are charming and energetic settings of 16th
century poet John Skelton's often ribald verse in a constantly
inventive musical landscape. The Brandenburg Sinfonia and
Backhouse were at their best here, capturing the nuances of the
rich orchestration, whilst featuring some beautiful solo playing
from cello, flute, cor anglais and bassoon...The star was
undoubtedly mezzo-soprano Claire Barnett-Jones, who never
allowed her characterisation of a drunken wench interfere with
the beauty of her gloriously vibrant tone”
“ the excellent Farnham Youth Choir and Vivace Chorus shone,
especially the ladies, whose phrases, by turns warm and agile,
were presented with admirable clarity. The soloists were taken
to the extremes of their voices, but with never a moment's
unease to the sparkling if somewhat reserved singing of Gareth
Brynmor John (Baritone) and Rosalind Coad (Soprano), whilst
tenor John-Colyn Gyeantey's stratospherically high vocal cameo
as the roasting swan was pitched absolutely perfectly: plaintive
but never grotesque.”
BRAVO!
“..the performance of 'Carmina Burana' after the interval,
was glorious. The thrilling opening chorus had us sitting on
the edge of our seats and that excitement continued right
until the last note.
The choir sang so well - we could hear every word. The
men's choruses were particularly stirring and the soloists
were great.”
"You made such a thrilling and exciting noise last night, I'm
sure it was one of the finest Carminas I've heard. *
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.
2
Vivace Chorus
PROGRAMME
Mozart: Overture to Die Zauberfléte
Orchestra
Handel: Chorus of the Enchanted Islanders
from Alcina
Chorus
Mozart: Voyagers' Chorus from Idomeneo
Soprano, Chorus
Bizet: Habanera from Carmen
Mezzo-soprano,
Chorus
Delibes: Flower Duet from Lakmeé
Soprano,
Mezzo-soprano
Mascagni: Easter Hymn from
Cavalleria rusticana
Semi-chorus,
Chorus
Poulenc: Prelude and Salve Regina from
Dialogue des Carmélites
Soprano,
Mezzo-soprano,
Semi-chorus,
Chorus
=
—
Interval
Wagner: Pilgrims' Chorus from Tannhéuser
Chorus (Tenor,
Bass)
Wagner: Prelude and Liebestod from
Soprano
Tristan und Isolde
Verdi: Witches' Chorus from Macbeth
Chorus (Soprano,
Alto)
Verdi: Anvil Chorus from Il Trovatore
Chorus
Puccini: Vissi d'arte from Tosca
Soprano
Puccini: Nessun dorma from Turandot
Tenor, Chorus
Verdi: Brindisi from La Traviata
Soprano, Tenor
Chorus
Verdi: Triumphal Scene from Aida
Vivace Chorus
Chorus
3
OPERA: 'A dramatic work in one or more acts, set to music
for singers and instrumentalists'
This evening's concert offers a richly varied programme of highlights
from a selection of some of the best-known operas. This selection
ranges from Handel through the great composers
Verdi and Wagner to Puccini
Poulenc's
unique
operatic
Mozart, Bizet,
and includes the dramatic finale to
masterpiece,
Les Dialogues des
Carmeélites.
Premiere = Tonight's extracts from:
The development of opera
1735
Alcina/Handel
1781
Idomeneo/Mozart
These operas follow the strict rules of
the ltalian opera seria style: 3 acts
1701
Die Zauberflote/Mozart
A landmark in the development of
1845
Tannhauser/\Xagner
Heralding the golden age of opera,
1847
MacbethAderc
1853
German language opera.
led
Il trovatore/La traviata
and
domlnatgd
by Wagner
in
Germany and Verdi in Italy.
Verdi
1865
Tristan und Isolde/\X/agner
1871
Aida/Verdi
1883
Lakmé/Dellbes
1875
preceded by an instrumental overture
and based on a classical story.
With Wagner and Verdi producing
some of their greatest works in the
2nd half of the 19th century, in France,
,
composers including Bizet and
Carmen/Bizet
Delibes created amongst the world's
most loved arias in their operas,
Carmen and Lakme.
1890
Cavalleria rusticana/Mascagni Verismo was a post-Romantic opera
1900
Tosca/Puccini
tradition exemplified in the operas of
Mascagni and Puccini, based on
1926
Turandot/Puccini
1957
Dialogue des
stories of ‘ordinary' people rather than
characters from classical literature.
Poulenc was arguably the most
Carmélites/Poulenc
successful French opera composer of
the 2oth Century, with his Dialogue
des Carmeélites winning international
audiences to this day.
Printed music for this evening's concert has been obtained from
Oxford University Press, Royal Academy of Music,
Royal Northern College of Music, Royal Opera House,
Surrey Performing Arts Library,
Trinity Laban Conservatoire of Music and Dance.
We are most grateful to these organisations and to our archivist Mary Clayton.
4
Vivace Chorus
Mozart: Overture to Die Zauberflote
Orchestra
The first performance of Mozart's opera Die Zauberflote (The Magic
Flute) took place in Vienna in 1791. This was the same year as the
composer's death thus positioning this opera at the time when
Mozart produced his greatest masterpieces.
The opera skilfully marries seriousness with comedy, and includes
brilliant contrasts between lyrical and spectacular solo numbers,
most notably the outstanding arias for the Queen of the Night. Set in
Ancient Egypt, the main theme of the story centres on four lovers:
Tamino/Pamina and Papageno/Papagena.
Handel: Chorus of the Enchanted Islanders from Alcina
Chorus
After spending over four years in Italy in his twenties, the young
George Frideric Handel (1685 - 1759) developed a keen interest in
ltalian
opera.
On
settling
in
England
in
1712,
he continued
to
compose ltalian operas for performance at London's Covent Garden
Theatre, with Alcina first being performed there in 1735.
Based on extracts from
Ludovico Ariosto's epic poem, Orlando
furioso, the fantastic plot features the sorceress, Alcina, who entices
her lovers onto her island, only to turn them into rocks and streams.
This lovely chorus, sung by her enchanted captives at the beginning
of the opera, celebrates the apparent perfection and beauty of their
island prison.
Mozart: Voyagers' Chorus from Idomeneo
Soprano, Chorus
The prodigious Mozart (1756 - 1791) completed the composition of
three operas by the age of 12. With Idomeneo, first performed in
Munich in 1781, the mature Mozart produced one of his truly great
operas.
Set in Crete, shortly after the end of the Trojan Wars, the plot
concerns the love affair between Ilia and Idomeneo's son, Idamante.
Having been been saved from drowning by Neptune, Idomeneo
promises to sacrifice the first living creature he sees. When this
Vivace Chorus
5
turns out to be Idamante, Idomeneo immediately sends his son
away on a voyage to avoid killing him.
This
exquisite
chorus
is
sung
by
the voyagers
accompanying
ldamante and the princess Electra to her island home of Argos.
Bizet: Habanera from Carmen
Mezzo-soprano, Chorus
Georges
Bizet
(1838
-
1875)
composed
a
number
of operas
throughout his life, with the most famous of these, Carmen, first
being performed at the Opéra Comique, Paris, in 1875, the year of
Bizet's death.
Carmen
was
not
an
immediate
success,
but
it
soon
became
immensely popular with the public and by 1905 there had been one
thousand performances of it at the Opéra Comique.
Especially
dramatic in Carmen is the final scene where Escamillo, Carmen's
new love, is involved in an off-stage bullfight, while on-stage Don
Jose, Carmen's discarded lover, dramatically finishes her off.
Habanera, a song about the capriciousness of love, is Carmen's
opening aria in the first act of the opera.
Delibes: Flower Duet from Lakme
Soprano, Mezzo-soprano
Léo Delibes, born at St Germain-du-Val, France, in 1836, was a highly
acclaimed composer of successful operas, operettas and ballets
such as Coppelia and Sylvia.
His
best
popular
known
opera
is Lakme,
which was
following
the
spectacular
stage
made particularly
performances
by
the
Australian soprano, Joan Sutherland. The beautiful Flower Duet from
her fine recording of the opera was then introduced to a larger
audience when used by British Airways in its TV advertisements.
Delibes’
music
in
Lakmé
is
both
graceful
and
colourful with
continuous melody throughout, especially in the elaborate music
written for the coloratura soprano soloist.
The Flower Duet of Act 1 is sung by the Brahmin princess, Lakme
and her maid Mallika as they pick flowers in the temple garden.
6
Vivace Chorus
Mascagni: Easter Hymn from Cavalleria rusticana
Semi-chorus, Chorus
Pietro Mascagni (1863 - 1945) composed lItalian operas for over sixty
years, but unfortunately there was only one which enjoyed success.
This was
his
one-act opera
Cavalleria Rusticana,
a
powerfully
melodramatic piece set in Sicily, written when he was still in his
twenties. The opera received tumultuous rounds of applause at its
first performance
in
1890 at the Teatro Costanzi,
Rome.
Many
successful performances of this opera were taken up in cities such
as
Berlin,
London
and
Paris,
where
it was
often
paired
with
Leoncavallo's two-act opera Pagliacci.
The Easter Hymn features an off-stage semi-chorus representing
the church choir, with the villagers joining in to sing their hymn of
praise as they enter the church.
Poulenc: Prelude and Salve Regina from Dialogue des
Carmélites
Soprano, Mezzo-soprano, Semi-chorus, Chorus
The distinguished French composer, Francis Poulenc, (1899 - 1963)
started to compose operatic material late in life and in 1957 his
highly-regarded second opera, Les Dialogues des Carmelites
was
first performed at La Scala, Milan. Les Dialogues des Carmélites is a
deeply felt religious work, composed in a simple lyrical style.
The
style of the music bears a significant resemblance to Debussy's
opera, Pelléas et Mélisande, in its use of recitatives rather than arias
to tell the story.
The Prelude and Salve Regina sung by the Carmelite nuns as they
go one-by-one to the guillotine is probably the most intensely
moving finale to an opera one is ever likely to experience.
Interval
(20 minutes)
Vivace Chorus
7
Wagner: Pilgrims' Chorus from Tannhdauser
Chorus (Tenor, Bass)
Richard Wagner (1813 - 1894) initially attempted to compose an
opera in 1832 at the age of nineteen, but his first operatic success
came in 1843 with The Flying Dutchman, followed by Tannhduser,
composed in 1845 and first performed in Dresden in the same year.
The libretto derives from two individual legends - the theme of
Tannhauser and the Wartburg Song Contest. Wagner used these
two texts and brought them into dramatic conflict with one another.
The well-known Pilgrims’ Chorus, sung by a men's chorus, is a hymn
of praise sung by those who have made the pilgrimage to Rome.
Wagner: Prelude and Liebestod from Tristan und Isolde
Soprano
In the middle of 1857 Wagner left off composing his monumental
Ring Cycle in order to write Tristan und Isolde and Die Meistersinger.
Tristan
und Isolde,
first
performed
in
1865,
is an
opera
which
particularly highlights Wagner's orchestral mastery and this is fully in
evidence in the orchestral prelude. This work was also inspired by
the passion Wagner felt for Mathilde Wesendonk who, with her
husband, had taken care of Wagner in his exile in Switzerland.
The yearning, deferred resolutions of the Prelude are resolved in the
final aria, Liebestod, (Love death), sung by Isolde to the fallen Tristan,
just before she too dies.
Verdi: Witches' Chorus from Macbeth
Chorus (Soprano, Alto)
Giuseppe Verdi (1813 - 1901) composed his opera Macbeth as a
melodrama in four acts, with the plot based on Shakespeare's
tragedy. Macbeth, the opera, was first performed in 1847 at the
Teatro della Pergola, Florence, and was warmly received. Verdi
himself was involved in this first production, guiding soloists and
chorus with their action on stage and directing lighting and set
designs.
Verdi's version of Shakespeare's play has two distinct differences:
8
Vivace Chorus
King Duncan has no speeches, his role consisting of only one silent
walk across the stage, and the three witches are here replaced by a
full-size female choir in three parts, each part representing a single
enchantress.
Verdi: Anvil Chorus from Il trovatore
Chorus
Giuseppe Verdi's opera
Il trovatore
(The Troubadours) was first
performed in 1853 at the Teatro Apollo in Rome. The text for this
opera was based on a blood-curdling drama by Guitiérrez, which
provided every opportunity for Verdi to create one of his greatest
operas.
The opera’s action takes place in Spain during the 15th century and
the whole plot is based on the search for the identity of a young boy
whose ashes were found alongside those of a gypsy, burned as a
witch.
Sung at the beginning of Act 2, the Anvil Chorus, celebrating hard
work, wine and women, is sung by Spanish gypsies as they strike
their anvils at dawn.
Puccini: Vissi d'arte from Tosca
Soprano
Giacomo Puccini (1858 - 1924) was famous for creating operas with
outstanding flowing melodies coupled with unique dramatic effects
and of these, Tosca is, without doubt, one of his greatest. The first
performance took place at the Teatro Costanzi, Rome, in 1890, and
after Puccini had made a few alterations, Tosca achieved enormous
success with opera audiences.
The plot centres on the three main characters: Tosca, a famous
singer, the artist Cavaradossi, Tosca's lover and the treacherous
Baron Scarpia, chief of police, who plots to kill Cavaradossi and take
Tosca for his own.
In the much-loved aria, Vissi d'arte, Tosca asks God why he rewards
her life of piety and kindness with such cruelty.
Vivace Chorus
9
Puccini: Nessun dorma from Turandot
Tenor, Chorus (Soprano, Alto)
Turandot was Puccini's final opera and was left unfinished when he
died in 1924. It was completed by the young composer, Franco
Alfano, with the first performance in 1926, at La Scala, Milan.
Turandot is set in Peking where the princess Turandot has three
riddles which her potential lovers must answer. Those who fail are
beheaded. Prince Calaf answers the riddles correctly but Turandot
will not marry him. He promises that if she finds out his name by
dawn, he too will die.
Nessun dorma (None shall sleep), one of opera's most celebrated
tenor arias, is sung by the Prince as the whole city stays awake all
night trying to discover his name.
Verdi: Brindisi from La traviata
Soprano, Tenor, Chorus
Giuseppe Verdi based his opera La traviata (The fallen woman) on
the drama La Dame aux Camélias by Alexandre Dumas. La traviata
was composed in early 1853 with the first performance at La Fenice,
Venice the same year. Following a number of changes, it quickly
became one of his most popular operas.
The moving story tells of the tragically short love affair of Violetta,
dying of consumption, and her lover Alfredo.
Brindisi is a toast to life, love and youth, sung by Alfredo who is then
joined by Violetta and the chorus of drinkers.
Verdi: Triumphal Scene from Aida
Chorus
First performed in Cairo in 1871, Verdi's great masterpiece Aida is
now of the most frequently staged operas in the world. The story is
set in Egypt and the work demands powerful solo singers, a large
chorus
and
orchestra,
together
with
elaborate
staging
on
a
monumental scale.
The Triumphal Scene, sung by the full chorus, celebrates the victory
of the Egyptian Army over their Ethiopian enemies.
10
Vivace Chorus
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Claire Seaton - Soprano
Born in Wolverhampton, Claire studied
at the Birmingham School of Music, at
the Royal Academy of Music with Rae
Woodland
and
subsequently
Kenneth
with
Bowen,
Linda
and
Esther-Grey.
She joined Kent Opera during her final
year at the Academy, was awarded the
Wessex
Prize
in
Glyndebourne
10908 and
Glyndebourne
Association
in 1999
Festival
made her
Opera
debut
singing the role of Vitellia (La Clemenza
di
Tito).
Further
Glyndebourne
engagements
included
covering
at
the
roles of Ellen Orford (Peter Grimes) and the Countess (Le Nozze di
Figaro),
followed
by contracts with
Opéra
de
Lyon
and
Opera
Europa.
One of the country's most adaptable sopranos, Claire also enjoys
remarkable 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 debut in Handel's
Dixit Dominus and is known for her performances of the soprano
solos in Allegri's Miserere.
Claire's
oratorio
particularly
experience
renowned
is
extremely
for her performances
broad
and
she
is
of Verdi's Requiem,
Brahms' 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.
In addition to recording the Allegri, Claire's discography includes the
role of The Believer in Rutland Boughton's Bethlehem for Naxos,
Brahms' Ein deutsches Requiem with Jeremy Backhouse and the
Vasari Singers for Guild, and the world premiere of Jonathan Dove's
The Far Theatricals of Day with Nicholas Cleobury. Claire has also
recorded the Pergolesi Stabat Mater with the counter-tenor Andrew
Watts. Claire recently created the role of Matriarch for the world
premiere of Paul Mealor's cantata The Farthest Shore with the BBC
Singers, broadcast live on Radio 3 from St David's Cathedral.
Vivace Chorus
15
Carris Jones - Mezzo-soprano
Born
in
Surrey
Southeast Asia,
but
largely
Carris
raised
Jones
in
studied
history at Gonville and Caius College,
Cambridge,
choral
where
scholar,
postgraduate
she
was
musical
study
Royal Academy of Music
Carris
also
Completing
graduated
a
at
in
a
her
the
London,
DipRam,
the
Academy's highest performance award.
Other training includes English National
Opera’'s
training
programme,
Opera
Works.
Carris' operatic roles include Cornelia Julius Caesar) for the ENO
(cover);, Mother/Witch (Hansel and Gretel) for Co-Opera; Genevieve
(Pelleas et Mélisande) at the Grimeborn Festival, Susanna (Susanna)
for Iford Arts (cover), Hippolyta (A Midsummer Night's Dream) for
Garsington Opera (cover); and Filipyevna (Eugene Onegin)
for Bury
Court Opera with the Southbank Sinfonia. Carris made her Royal
Festival Hall debut in the
role of Renée in the first
European
performance of Shostakovich's Orango, with Esa Pekka-Salonen and
the Philharmonia. In 2013 Carris created the title role in Harvey
Brough's new community opera Ona's Flood for Iford Arts.
Carris'
concert
Sheldonian
highlights
Theatre
in
include
Oxford,
the
Bach's
Verdi
Requiem
Magnificat
for
at
the
Laurence
Cummings and the English Concert, and performances of Elgar's
Sea Pictures and Mabhler's Kindertotenlieder with the North London
Symphony Orchestra. As a consort singer, Carris has sung across
five continents. She was a founder member of Stile Antico, an
unconducted early music vocal ensemble with whom she has won a
Classic
FM
Gramophone award;
been twice
nominated for the
prestigious Grammy awards and collaborated with Sting on
his
Dowland lute song project, Songs from the Labyrinth.
16
Vivace Chorus
Peter Davoren - Tenor
Peter was awarded the Dr Ralph Kohn
Scholarship
to
attend
the
Royal
Academy of Music, London under the
tutelage of the renowned tenor, Neil
Mackie, and Mary Hill. During his time at
the RAM Peter gained plaudits for his
recital singing as a member of the
Academy Song Circle, performing at the
Chelsea Lieder Festival, Oxford Lieder
Festival and the Wigmore Hall. The
Independent hailed him as ‘excellent’
and singing with ‘a warm, bel canto
style! These performances led to a
Lieder night in the Royal Academy's Duke's Hall with Dame Felicity
Lott.
Peter has performed frequently on the oratorio stage and quickly
gained a reputation as ‘one to watch for the future' after his
performance as Evangelist in the RAM performance of Bach's St
John Passion, conducted by Edward
Higginbottom. Peter's
experience in oratorio has led to his being a regular performer for
the Monteverdi Choir with Sir John Eliot Gardiner and he made his
BBC Proms debut as a soloist in the Monteverdi Vespers of 1610.
Operatically, Peter has performed the roles of Nemorino (Lelisir
d'amore), Lacouf and Le journaliste (Les mamelles des Tirésias) and
Florville (Il signor Bruschino) with the Dutch National Opera
Academy, and has been a regular at Opera Holland Park, performing
as Song Vendor (Il tabarro, 2015), Poisson (Adriana Lecouvreur, 2014)
and Goro (Madama Butterfly, 2013).
Vivace Chorus
17
Jeremy
is
one
of
Britain's
conductors
of
amateur
leading
choirs.
He
began his musical career in Canterbury
Cathedral
Chorister.
where
In
he
1980
was
Senior
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.
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 at
concert venues and cathedrals throughout the UK and abroad.
Jeremy and Vasari have broadcast frequently on BBC Radio and
Classic FM, and have a discography of over 25 CDs on the EMI,
Guild, Signum and Naxos labels; they have recently launched their
own VasariMedia label with a recording of Jonathan Rathbone's
Under the shadow of His wing, which they premiered in 2014.
In January 1995, Jeremy was appointed Music Director of the Vivace
Chorus.
Alongside
conducted
including
the
the Vivace
Howells'
standard
Chorus
Hymnus
in
classical
some
Paradisi
and
works,
ambitious
Jeremy
has
programmes,
Szymanowski's
Stabat
Mater, Mahler's ‘Resurrection’ Symphony (No. 2), Prokofiev's Alexander
NevsRy 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.
In January 2009, Jeremy took up the post of Music Director of the
Salisbury Community Choir. In 2013 the choir celebrated its 21st
Anniversary with a major concert in Salisbury Cathedral in October,
featuring
community
the
world
work
by
premiere
Will
Todd,
of
The
a
specially-commissioned
City
Garden,
which
they
subsequently toured to Lincoln (2014) and Guildford (2015).
18
Vivace Chorus
Artistic Director: Robert Porter
Associate Music Director: Sarah Tenant-Flowers
I he Branaenpurg 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 a
major concert series at both St Martin-in-the-Fields and the 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
Kate Musker
Cor Anglais
Trumpet
Michel Kerem
Richard Milone
Marie de Bry
Cello
Katie Bennington
Clarinet
jonHClalrke
Kate Cole
Jens Lynen
James Barralet
Peter Sparks
Louise McMonagle Andrew Harper
John Dickenson
lain Ward
Anna Harpham
Sarah Westley
Milena Simovic
Barbara Dziewiecka Bas?s
T
David Ayre
Jan Zahourek
e
Elizabeth van Ments
tari
Bass Clarinet
Sarah Watts
Bassoon
Sarah Burnett
Elizabeth Trigg
Contra Bassoon
Paul Archibald
Enil
Trombone
Susan White
Emma-Juliette
Hodgson
Andrew Lester
Tuba
Adrian Miotti
Harp
Willemijn
Flute
Michael Cox
Tom Hardy
Vicky Lester
Eluned Pritchard
Kimberley Boyle
T
Timpani
Egfié?{;j e
Piccolo
Martin Grainger
Tristan Fry
Steenbakkers
Broome-Skelton Chtoe Vincent
Oboe
Hannah Simons
Viola
Matthew Quenby
Jon Thorne
Vivace Chorus
Lydia Griffiths
Rachel Broadbent
Francesca
Moore-Bridger
;gg:l E'Sl?/e
VI
en
Y
Percussion
Tim Evans
Joe Mathers
Organ
..................................................
Valerie Thompson
About Vivace Chorus
Jeremy Backhouse
Music Director
Francis Pott
Accompanist
James Garrow
Chairman
The choir has come a long way since it began nearly 70 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,
20
Vivace Chorus
Brahms,
Handel,
Haydn,
Mozart
and Verdi, and the more intimate
works of Faure, Tavener, Allegri
and Lauridsen. We also actively
promote
contemporary
choral
music
and
commission
new
works when funds allow.
Particular successes 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 2014 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 Martinin-the-Fields. We also, on occasion, venture further afield and have
visited Germany many times over the years to sing with the
Freiburger Bachchor.
Other trips abroad have included a 2009 tour of north-west France
when we sang in the cathedrals of Paris (Notre-Dame), Rouen and
Beauvais, while in 2012 we gave concerts in Strasbourg, Heidelberg
and Freiburg. In 2014, we spent a wonderful few days in Italy, where
we sang in Verona, Mantua and Venice. In 2016, we will be touring in
Austria, singing in Salzburg and Vienna.
If that whets your appetlte do come and join us! We rehearse on
Monday
evenings
Millmead
Guildford.
Centre,
membership
in
the
Millmead,
Contact
our
secretary
Jane
Brooks:
membership@vivacechorus.org
and for more information, visit
our
website,
vivacechorus.org,
and follow us on Facebook and
Twitter.
Vivace Chorus
21
Vivace Chorus Singers
FIRST SOPRANO
FIRST ALTO
Pauline Higgins
FIRST BASS
Pam Alexander
Barbara Barklem *
Barbara Hilder
Phil Beastall
Amelia Atkinson
Monika Boothby
Carol Hobbs
Richard Broughton
Helen Beevers *
Jane Brooks #*
Beth Jones
Simon Browning
Michael Dudley
Joanna Bolam *
Liz Durning
Roz Marshall *
Mary Broughton =
Valentina Faedi
Catherine Middleton Brian John
Rebecca Kerby
Sheila Hodson
Val Morcom
Jeremy Johnson
Alex Nash
Jean Leston
Pamela Murrell
Jon Long
Emily Nash *
Judith Lewy
Jacqueline Norman
Malcolm Munt
Susan Norton
Liz Martin
Beryl Northam
Chris Newbery
Robin Onslow
Lois McCabe
Sheila Rowell
Peter Pearce
Gillian Rix
Penny McLaren
Prue Smith
Chris Peters
Sarah Smithies
Kay McManus
Rosey Storey *
Robin Privett
Joan Thomas
Christine Medlow *
Pamela Usher
David Ross
Hilary Vaill
Rosalind Milton
Anne Whitley
Philip Stanford
Mary Moon
June Windle
Kieron Walsh
Elisabeth Yates
SECOND SOPRANO
Lilly Nicholson
Jacqueline Alderton
Gill Perkins *
Anna Arthur
Linda Ross
FIRST TENOR
Peter Andrews
Frances Bamber
Lesley Scordellis
Bob Bromham
Alan Batterbury
Amy Cowan *
Catherine Shacklady
Nick Manning
Norman Carpenter
Anna Durning
Carol Sheppard
Martin Price
Geoffrey Forster
Ginny Heffernan
Ann Smith
Chris Robinson
James Garrow
Isobel Humphreys *
Marjory Stewart
John Trigg
Stuart Gooch
Averell Kingston
Jo Stokes
Krystyna Marsden
Nicola Telcik
Isabel Mealor
Hilary Trigg *
Alison Newbery
Maggie Woolcock
Kate Peters
SECOND BASS
SECOND TENOR
Ewan Bramhall
Peter Butterworth
Tony Chantler
Katrina Strathearn
SECOND ALTO
Simon Dillon
Paula Sutton
Geraldine Allen
Geoff Johns
Barbara Tansey
Evelyn Beastall
Stephen Linton
Valerie Thompson#
Sylvia Chantler
Peter Norman
Christine Wilks
Fiona Wimblett
Frances Worpe
Mary Clayton
Arnfinn Overas
Andrea Dombrowe
Jon Scott
Elizabeth Evans
John Thornely
Sheena Ewen
Nick Gough
Eric Kennedy
Neil Martin
Adrian Oxborrow
Roger Penny
Michael Taylor
Richard Wood
John Yeomans
* Semi-chorus of
Carmelite nuns
Valerie Garrow
Liz Hampshire
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
Robin & Penny Privett
Platinum Patrons
Mr & Mrs Stephen Arthur
John McLean OBE & Janet MclLean
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 & Michael Embleton
Dr & Mrs M G M Smith
Susan & Cecil Hinton
Idris Thomas
Mrs Carol Hobbs
Mrs Pamela Usher
Mrs Rita Horton
Bill & June Windle
Mr Michael Jeffery
Gold Patrons
Robin & Jill Broadley
Dr Stephen Linton
Roger & Sharon Brockway
Brenda & Brian Reed
Jane Kenney
Sheila Rowell
Mr Geoffrey Johns
Prue & Derek Smith
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
23
Vivace Chorus dates for your diary
Chantez! A Night of French music
Saturday 21st May 2016 7.30pm G Live, Guildford
In this programme, we celebrate the masters of French choral
music, Fauré, Ravel, Massenet and Franck,
including the much-
loved Panis Angelicus and Cantique de Jean Racine, and finishing
with possibly the best-loved work in the repertoire: the beautiful
Requiem by Gabriel Faure.
All the World's a Stage A Tribute to Shakespeare in Words and Music
Saturday 12th November 2016 7.30pm G Live, Guildford
To celebrate Shakespeare's 400th birthday, we are delighted to
present an evening of music and drama, in collaboration with the
Guildford Shakespeare Company. With works from Tchaikovsky,
Berlioz, Vaughan Williams and Walton, we move from the romance
of Romeo and Juliet to the tragedy of Hamlet and the battle scenes
of Henry V. Book early for this not-to-be-missed event!
Further details at vivacechorus.org
BRAVO!
"‘Clear diction and enunciation made Vivace's performance
of Carl Orff's "Carmina Burana® a delight to hear. The choir
was
wonderfully
supported
by
excellent
soloists."
"That was just amazing! | didn't know Carmina Burana and
was completely blown away!TM
Printed by WORDCRAFT
15 Merrow Woods, Guildford, Surrey GU1 2LJ. Tel: 01483 560735
Vivace Chorus is a Registered Charity No. 1026337
24
Vivace Chorus
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