Vivace
Conductor :
Jeremy Backhouse
Saturday
26 March 2022
at 7.30pm
vivacechorus.org
Registered Charity No. 1026337
Guildford’s state-of-the-art
entertainment venue
02/03/2022 17:51
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SWORDS
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Your favourites from
Mary Poppins
West Side Story
Oklahoma!
Cats
Evita
Carousel
Les Misérables
Jesus Christ Superstar
Phantom of the Opera
And more!
Vivace Chorus
Conductor: Jeremy Backhouse
Friary Brass Band
Conductor: Chris King
Host: Nick Wyschna
Best of Broadway
Inspiring, tender or wistful songs, passionate love duets,
rousing choruses, brilliantly choreographed dance routines,
witty, tongue-twisting comedy numbers, and a story-line that
goes straight to our hearts as it explores the most fundamental
human emotions - love, hate, jealousy, ambition, rivalry,
forgiveness – some or all of these we can expect in a fine
performance of a great Broadway musical. They will be
delivered with all the panache of dazzling singing, athletic
dancing, sensational stage-effects and, underpinning
everything, a magnificently soul-stirring score.
In his opening number in Willy Wonka and the Chocolate
Factory (1971) Gene Wilder, as Willy, welcomes the lucky
winners of the Golden Tickets with the words
'Come with me
And you’ll be
In a world of pure imagination'
and this is the promise that the Broadway musical makes.
Although Willy himself only reached the Broadway stage in
2017, and his world is a naïve fantasy of sweets-that-grow-ontrees and chocolate by the riverful, his song encapsulates the
central themes of some of the finest musicals: 'Anything you
want to do, do it…'; 'Want to change the world? There’s nothing to
it…'; and, above all, 'Living there, you’ll be free – if you truly wish
to be'.
There is a dangerous undercurrent of menace in the Chocolate
Factory, brilliantly caught by Wilder’s performance, and in the
great musicals the pursuit of happiness is often threatened or
thwarted, and it may even lead to tragedy. Yet over and over
again the characters in these dramas yearn and struggle for
that elusive 'something' that they believe is coming to
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Vivace Chorus
transform their lives, the glorious 'somewhere', 'bright as a rose',
'only just out of reach', a 'place' made and waiting specially for
them, and where love can be fulfilled, society renewed, and
even political liberation may be found. Cosette's plaintive
ballad Castle on a Cloud in Les Misérables – 'I know a place
where no-one’s lost, I know a place where no-one cries' – sung
from the depths of her suffering and abandoned heart in
revolutionary France, is a recognisable echo of Tony and Maria,
the doomed lovers of West Side Story, and of Billy Bigelow and
Julie Jordan in Carousel, one of them singing with mingled
confidence and doubt about 'My Boy Bill', the son he will in fact
never have, and the other still 'walking on' with hope in her
heart at the end as her husband, redeemed by love, ascends
to Paradise.
A promenade in the park
In some musicals the characters experience an unclouded
happiness. Walt Disney’s 1964 film musical Mary Poppins
opened on stage many years later, in London in 2004, and on
Broadway in 2006. Mary floats in on the East Wind, bringing
the 'happy place' with her, ready-made, to a stuffy and
eccentric 'Edwardian' London, and briskly sets about freeing
the Banks children to explore a highly-coloured whirl of
magical adventures that often seem to resonate with the
psychedelic youth-culture of the Sixties.
The energetic and tempestuous score delights in verbal
dexterity (Supercalifragilisticexpialidocious), sentimentality (in
the touching ballad Feed the Birds), and wholesome
encouragement to be 'practically perfect in every way', and is a
natural fit for Julie Andrews and Dick Van Dyke (still famous for
his endearingly dotty 'cockney' accent). But it has a very
different effect from that of P.L. Travers’s original book Vivace Chorus
3
brilliant, hard-edged, rather unsettling, a superbly
uncompromising examination of the world as seen from the
child’s point of view. The film removed everything that would
have complicated the 'feel-good' aims of the mighty film
company, and when Travers objected to the scene mixing liveaction and animation, then a sensational innovation, saying
that it would “have to go”, Disney replied “Pamela, that ship has
sailed.” With its delightful and fantastical playfulness Mary
Poppins is still the highest-grossing film that Disney ever
made, but we have to look elsewhere for the Broadway
musical’s exploration of darker, more challenging themes.
You’re doin’ fine, Oklahoma!
For their first collaboration on Broadway the inspired creative
partners Richard Rodgers and Oscar Hammerstein II chose to
celebrate the Territory of Oklahoma at an important moment in
its history - its achievement of full statehood in 1907. In 1943
this reflected the determined optimism and confidence in their
own culture that many Americans felt at that point in the
Second World War. For Huckleberry Finn at the end of Twain’s
great novel, “lighting out for the Territory” meant an escape
from attempts to “sivilize” (i.e. civilise) him, but in the wartime
show Oklahoma! and the 1955 film, the Territory comes to
represent the USA itself, embodied in a sturdy, independent
and warm-hearted community capable of reconciling
differences between corn-raising farmers and stock-dealing
cowmen, strong-willed rancher Laurey and handsome,
romantic cowboy Curly, and the feisty Ado Annie and
impulsive, rodeo-loving Will.
Rooted in the land, the Oklahomans are nevertheless excited
by the up-to-date wonders of Kansas City with its seven-storey
skyscraper, and although a square-dance can erupt into a
comic fist-fight, that can soon be quelled by a gun-toting Aunt
4
Vivace Chorus
Eller. In this idealised version of the Republic, everything is
resolved by good will, marriage and the Territory’s
incorporation as a State. The murky threats of sexual jealousy
and murder, represented by the dangerously isolated Jud, end
in violent self-destruction, and the real stresses and dangers of
life in the city are left for another great partnership, Bernstein
and Sondheim, to address.
At the end of the storm is a golden sky
Text and music in Oklahoma! come together as organically as
do the 'Territory folk' themselves, in the harmonious working
relationship of Rodgers and Hammerstein: songs express and
explore character, and the incidents of the plot are propelled
by dance numbers in a seamless process that ensures
dramatic truth.
Their second collaboration, Carousel (Broadway 1945; film
1955) took this even further. Stephen Sondheim said that If I
Loved You, a heart-rending love duet set into an extended
scene in which a tentative love is never actually declared
between Billy Bigelow and Julie Jordan, was “probably the
most important moment in the evolution of contemporary
musicals” because of its psychological insight and subtlety.
The relationship is expressed in words and music that are
perfectly blended and mutually supportive. The drama deals
with serious problems of unemployment, violent robbery,
intensely conflicted feelings and even suicide, climaxing with
You’ll Never Walk Alone. This is first sung as a solo, to comfort
Julie, now Billy’s wife, immediately after his despair and
suicide. It is reprised in an extraordinary scene at the end of the
musical as he returns to earth, years later, to whisper words of
encouragement to his daughter at her graduation and finally,
Vivace Chorus
5
backed by a golden sunset, to go to his reward, as mother and
daughter join the chorus in the swelling anthem of hope and
resolution. Like some other songs from musicals, it now has an
independent cultural life, grounded in an unashamedly
emotional text and the sheer power of its broad, confidently
rising melody. Its message is clear and universal: out of pain
and loss can rise a beautiful future, as the young generations
'graduate' into the promise of a new day.
The rock of life
Life is all right in America –
If you’re all-white in America …
Here you are free and you have pride ‘Long as you stay on your own Side …
Stephen Sondheim’s brutally honest and satirical lyrics for
America, one of the most complex, dynamic and angry
ensembles in the musical, come crashing into the passionate
story of love across a racial and cultural divide in New York City,
and make West Side Story a tragic corrective to the sundrenched optimism of Oklahoma!. Leonard Bernstein’s friend
Martha Gellhorn wrote of this number that it was “… not
laughter; but the hardness of life, the rock of life, a dream of
something softer (softer inside, where it counts) as against the
icy measuring rod of modern big city young”, and his
extraordinary score, blending “jazz, Latin rhythms, symphonic
sweep and musical-comedy conventions in a ground-breaking
way for Broadway” (Misha Berson) carries the story forward with
devastating energy. The 'social ailment' (as one contemporary
called it) of juvenile gang violence was a revolutionary subject
for the musical in 1957 (“Who wanted to see a show in which
the first act curtain came down on two dead bodies lying on
the stage?” was Bernstein’s wry comment on their enterprise).
6
Vivace Chorus
Every development of the plot is driven forward by sensational
episodes of dance, totally integrated with the personal and
social themes, and the musical’s angry confrontation of racial
and sexual violence still has the power to shock. Rita Moreno,
who as Anita led the America ensemble in the 1961 film
version, recalled years later how casual racism operated offscreen as well as on: the only Puerto Rican artist in the cast,
she was pressured to darken her skin and adopt a phoney
accent, and she was moved to tears in an interview nearly sixty
years later by the memory of her (and her fellow-artists’)
trauma when rehearsing the shocking 'rape scene'.
As throughout the film, the action here is choreographed in
balletic terms, while a reprise of the America theme in the
background rises gradually to a terrifying frenzy. West Side
Story is, famously, a reworking of Romeo and Juliet, and this
harrowing scene is as consciously based on a scene in
Shakespeare’s text (the 'joking' abuse of Juliet’s nurse) as are
the rhapsodies of Tony and Maria, developed from the play’s
love-scenes. Sondheim, Bernstein and Arthur Laurents (the
composer of the 'book') showed how considered, detailed and
profound the issues were that could be dramatised in a
musical: from now on no subject was too complex, too
challenging or too 'serious' for the Broadway show to
tackle.
Still I say there’s a way for us
Andrew Lloyd Webber’s Evita has been criticised by some as a
glorification of Eva Perón (“a catchy tear-jerking ballad in
honour of a dead fascist’s dead wife”, was Joe Queenan’s
verdict on Don’t Cry for Me, Argentina), while others have seen it
more sympathetically as an exploration of the moral
ambiguities of her political and social career, following the lead
Vivace Chorus
7
of the librettist Tim Rice’s comment that the famous song’s
lyrics are “a string of meaningless platitudes” deliberately
constructed to represent the hollowness of the character’s
motives.
The musical’s enormous success (London 1978; Broadway
1979) certainly demonstrated the viability of a 'political' musical,
and Les Misérables (Paris 1980; London 1985), like the more
recent Hamilton, belongs in the same tradition. Everything
about 'Les Mis' is on an impressive scale – the source in Hugo’s
massive and complex novel; nearly three hours of 'through
composed' (continuous) music by Claude-Michel Schönberg;
and a plot that reprises motifs from great musicals of the past:
the lost parent/child relationship, industrial unrest, complex
and ultimately resolved love-relationships, the search for moral
redemption, and the urban unrest of West Side Story, raised to
an overtly political plane in the 1832 Paris Rising scenes, which
require the staging of an attack on the barricades built in the
streets of the city by idealistic students.
This political focus in the musical has been crucial to its
success, and this suggests that a political theme is now
established as a viable element in the musical, just as love,
family and social relationships, not to mention fantasies of
magical adventure, have long been.
Shows have always included pastiche, the imitation of musical
styles appropriate to the story and its period or setting.
Examples are the mock-music-hall song Oh, it’s a jolly holiday
with Mary in Mary Poppins, closely modelled on Knock’d ‘em in
the Old Kent Road; the 'Latino' rhythms of West Side Story; and
the square-dance The Farmer and the Cowman in Oklahoma!.
In Les Misérables the revolutionary student song Do You Hear
the People Sing? imitates the exhilarating sentiments and
marching rhythms of the Marseillaise and the Carmagnole of
8
Vivace Chorus
the 1789 Revolution, though created by Schönberg entirely for
its place in the musical. Yet it has been taken up by political
protestors all over the world – sung by students in the streets
of Hong Kong, banned by the government of the People’s
Republic of China, and even used in a surreal rally of Trump
supporters under the banner 'Les Deplorables'.
In 2013-14 it was heard in Maidan Square in Kyiv, the Ukrainian
capital, as activists challenged the rule of Viktor Yanukovych,
the now-former President, whose fall from power was followed
by the completion of negotiations to establish a political and
economic association between Ukraine and the European
Union – an association strongly opposed by the Russian
government. The Broadway musical, in sometimes surprising
ways, is likely to flourish as at least an element, and a
significant and powerful one, in cultural development and
debate.
Programme notes © Jon Long 2022
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Vivace Chorus
9
Meadow ring in 18ct Fairtrade gold, set with copper coloured
tourmaline and natural brown diamonds
Shop & Workshop, 40a Smithbrook Kilns, Cranleigh, Surrey GU6 8]]
01483 278170 info@jondibben.co.uk www.jondibben.co.uk
Friary Brass Band
Strike Up the Band
George Gershwin arr. Goff Richards
Choir + Friary Brass Band
Mary Poppins: The Musical – Choral Highlights
Sherman and Sherman, arr. Mac Huff
Chim Chim Cher-ee
A Spoonful of Sugar
Practically Perfect
Jolly Holiday
Feed the Birds
Anything Can Happen
Step in Time
Supercalifragilisticexpialidocious
Choir + Friary Brass Band
Carousel
Rodgers and Hammerstein, arr. Audrey Snyder
If I Loved You
Rodgers and Hammerstein, arr. Clay Warnick. Band arr. Chris
King
You’ll Never Walk Alone
Friary Brass Band
Wicked
Stephen Schwartz
Defying Gravity
Willy Wonka & the Chocolate Factory
Leslie Bricusse and Anthony Newley
Pure Imagination
Vivace Chorus
11
Choir + Friary Brass Band
Les Misérables – Medley
Claude-Michel Schönberg, Alain Boublil, Jean-Marc Natel,
Herbert Kretzmer, arr. Ed Lojeski
At the End of the Day
I Dreamed a Dream
Castle on a Cloud
Do You Hear the People Sing?
On My Own
Bring Him Home
Finale
Interval (20 minutes)
Choir + Friary Brass Band
Oklahoma! – Medley
Rodgers and Hammerstein, arr. John Leavitt
Oh, What a Beautiful Morning
Oklahoma
Surrey with the Fringe on Top
Kansas City
I Cain’t Say No
Many a New Day
People Will Say We’re in Love
Friary Brass Band
A Little Night Music
Stephen Sondheim
Send in the Clowns
A Funny Thing Happened on the Way to the Forum
Stephen Sondheim
Comedy Tonight
12
Programme continues on p. 17
Vivace Chorus
SING WITH THE BEST
It's official: singing
. Makes you feel happier
. Reduces stress
. Improves memory
. Strengthens the lungs and
immune system
Photo © Carol Sheppard
Singing can also release endorphins, reducing our perception
of pain and acting in a similar way to morphine — but without
the danger of addiction.
So it's not just meeting friends, the music or the mid-rehearsal
cakes that tempt you out on a cold Monday night, but the
chance to be pain free.
Most of all, it's just great fun!
Photo © Ben Potton
Apart from singing in local
venues, we also tour abroad
and have a full calendar of
social events, including
walks and parties.
If you're tempted to join us,
just drop an email to our
membership secretary,
Becky Kerby:
membership@vivacechorus.org
Advertising in our concert programmes is an effective
and economical way of reaching a discerning local
audience. If you're interested in finding out more, just
drop an email to 'programmes@vivacechorus.org'
Vivace Chorus
14
Verona
Riga
Venice
Strasbourg
Photos © Phil Stanford & Lionel Moon
Freiburg
Vivace abroad - some
places we've visited
Tallinn
Vienna
Salzburg
Your choral favourites
including
Handel, Fauré,
Rutter and
| Swingle
-
8
)\ ”’9
Retiring collection in aid of:
o Sl
CHILD FIRST
DISABILITY SECOND
Choir + Friary Brass Band
Andrew Lloyd Webber: A Concert Celebration
Andrew Lloyd Webber, arr. Mark Brymer
Phantom of the Opera
Music of the Night
Don’t Cry for Me Argentina
Superstar
King Herod’s Song
Memory
Go Go Go Joseph
Friary Brass Band
Wanna Dance with Somebody
Whitney Houston (from "The Bodyguard" World Tour)
Choir + Friary Brass Band
West Side Story
Leonard Bernstein and Stephen Sondheim, arr. Mac Huff
Something’s Coming
Tonight
Maria
One Hand, One Heart
I Feel Pretty
Cool
America
Somewhere
Vivace Chorus
17
Jeremy Backhouse
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, the Vasari
Singers has performed regularly at major
concert venues and cathedrals throughout
the UK and abroad. Jeremy and the Vasari
Singers broadcast frequently on Classic
FM and BBC Radio 3 and have a
Photo © Ash Mills
discography of over 25 CDs on EMI, Guild,
Signum and 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.
In January 2009 Jeremy became 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
18
Friary Brass Band
© www.goldy.uk
Since winning the First Section National Championship title in
2010 – the only southern band ever to have done so - Friary
Brass Band has progressed under the baton of MD Chris King
to become the leading band in the South.
Currently ranked 19th in the world and 12th in the UK, Friary
has held the London & Southern Counties Champion Band
title since 2015 and has appeared in the National Finals at the
Royal Albert Hall each year since 2013. The Band has won the
Audience Entertainment Award at Brass in Concert for the past
two occasions, and the Most Entertaining Band award at
Butlin’s Mineworkers Contest in 2015, 2017 and 2019.
Founded in its current form in 1983, Friary takes its name from
its initial sponsor, Guildford’s Friary Meux brewery, and is now
based near Woking, Surrey. Over the years, the Band has
played at many special occasions, including major sporting
events such as the British Grand Prix and rugby internationals
at Twickenham and Wembley, and for a local theatre
company’s production of Brassed Off.
19
Vivace Chorus
A registered charity, Friary raises funds for the British Heart
Foundation and the Kent, Surrey and Sussex Air Ambulance
Trust, and in April 2015 was honoured to receive the Mayor of
Guildford’s Service to the Community Award.
Joint concerts have been staged with the Fairey, Brighouse &
Rastrick and Cory Bands, as well as with the North East Hants
Area Schools Bands where two of the Band’s principal players
started their banding careers.
Principal Cornet
Richard Straker
Flugel Horn
Lauren Straker
Solo Trombone
Neil Wharton
Soprano Cornet
James Nash
Solo Horn
Chris Pannell
Second Trombone
Ian Stewart
Solo Cornets
Hannah Richards
Matt Cheesebrough
Andy Singleton
First Horn
Nigel Stevens
Bass Trombone
Adam Gregory
Second Horn
Nick Krebs
E Basses
Ben Miller
David Stokes
b
Repiano Cornet
Alistair Richards
Solo Euphonium
Chris Straker
Second Cornets
David Wicks
Richard Marley
Second Euphonium
Mike Trumble
BB Basses
David Richards
Nigel Simmons
Third Cornets
Allan Martin
Chris Powell
First Baritone
Alex Sears
Percussionists
Chris Attwood
Mike Jefferies
Rachael Cross
Vivace Chorus
Second Baritone
Stephen Thorpe
b
20
Chris King
Conductor, Friary Brass Band
Chris
King
started
his
relationship as Musical Director
of the Friary Brass Band during
a very successful 25-year career
as a cornet player, viola player
(no
jokes
please!)
and
conductor in the British Army.
During his tenure, the band has
had repeated contest success
including victory at the 2010
First
Section
National
Championships and the 2014
Senior Trophy, London Regional
champions in 2015, 2016, 2017,
2018 and 2019, as well as
qualification for the National
Brass Band Championships in the Royal Albert Hall on the last
eight competitions.
As well as conducting Friary on a regular basis, Chris has
worked as conductor in Denmark, Norway and Sweden and
has adjudicated at a number of prestigious competitions
including various Regional Championships, Siddis Elite Section,
Brass in Concert and Wychavon Festival of Brass. Chris
finished his time in the Army as the Bandmaster of the Band of
the Grenadier Guards in London, and now works as Bursar at a
senior school in West London, where he and his wife and two
daughters live. He is also a Governor of two other schools,
Treasurer of the Association of Brass Band Adjudicators and on
the Music Commission of the European Brass Band
Association. With what little spare time he has left, he enjoys
arranging.
21
Vivace Chorus
Nick Wyschna
Host
This evening's host is Nick
Wyschna, who trained in Musical
Theatre at the Royal Academy of
Music, graduating in 2006.
Nick is the Managing Director of
Guildford
Fringe
Theatre
Company
and
Gag
House
Comedy Clubs, which he founded
in 2012.
The company's aim is '... to
continue to bring quirky events to
our wonderful town', and this
year's Guildford Fringe Festival runs from 24th June to
16th July.
© Adam Hills Photography
Nick is also a member of the critically acclaimed vocal
group The Barricade Boys.
Other theatre credits at home and abroad include Giles in
The Mousetrap, Daniel Warshowsky in Imagine This, Buzz
Adams in South Pacific, Harry in Mamma Mia, club singer
and Priest in Scandalous!, lead singer in Dancing Queen,
The 12 Tenors, lead singer in The West End Experience (St.
Ives Theatre), and a soloist in Thursford Christmas
Spectacular (Norfolk).
Vivace Chorus
22
About Vivace Chorus
Jeremy Backhouse
Francis Pott
Peter Norman
Music Director
Accompanist
Chairman
Photo © Ben Potton
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 in G Live Guildford for our
‘Concert for Peace’.
Vivace thrives under the exceptional leadership of this evening’s
23
Vivace Chorus
conductor, Jeremy Backhouse. 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?
Montage © Selam Adamu
During the pandemic, we made considerable efforts to keep singing.
Jeremy ran weekly Zoom sessions, Francis shared his
encyclopaedic knowledge of composers, and we put together two
online films and a virtual Christmas Concert, raising money for the
Mayor of Guildford’s chosen charity.
We’re very much looking forward to getting back to touring – we are
hoping this year to add Spain to the list of our tours, which have so
far included France, Italy, Germany, Austria and the Baltic States.
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 Twitter @VivaceChorus.
Vivace Chorus
24
Vivace Chorus Singers
FIRST SOPRANO
FIRST ALTO
Christine Lavender
Stephen Linton
Sel Adamu
Jackie Bearman
Lois McCabe
Charles Martin
Amelia Atkinson
Marion Blair
Kay McManus
Peter Norman
Jane Barnes
Jane Brooks
Catherine Middleton Jon Scott
Mary Broughton
Amanda Burn
Mary Moon
Sarah Hardcastle
Fiona Davidge
Val Morcom
FIRST BASS
Jo Haviland
Valentina Faedi
Sonja Nagle
Paul Barnes
Becky Kerby
Rosa Huynh
Sheila Rowell
Phil Beastall
Fran MacKay
Lis Martin
Prue Smith
Richard Broughton
Suzie Maine
Penny McLaren
Rosey Storey
Michael Dudley
Michelle Mumford
Rosalind Milton
Pamela Usher
Brian John
Sue Norton
Lilly Nicholson
Susie Walker
Jeremy Johnson
Robin Onslow
Jackie Payne
Anne Whitley
Jon Long
Gillian Rix
Linda Ross
June Windle
Chris Peters
Barbara Tansey
Catherine Shacklady
David Ross
Joan Thomas
Marjory Stewart
Andrew Skinner
Hilary Vaill
Jo Stokes
FIRST TENOR
Juliet Vaill
Julia Stubbs
Bob Cowell
Anna Wili
Nicola Telcik
Owen Gibbons
SECOND BASS
Sue Thomas
Rosie Jeffery
Peter Andrews
Hilary Trigg
Nick Manning
Norman Carpenter
Maggie Woolcock
Barbara McDonald
James Garrow
John Trigg
Nick Gough
SECOND SOPRANO
Jacqueline Alderton
Philippa Curtis
Rob Walker
Neil Martin
Isobel Humphreys
SECOND ALTO
Alex Nash
Geraldine Allen
SECOND TENOR
Phil Tudor
Alison Palmer
Evelyn Beastall
Michael Batty
Richard Wood
Gill Perkins
Liz Curry-Hyde
Ewan Bramhall
Kate Peters
Sheena Ewen
Peter Butterworth
Christine Wilks
Valerie Garrow
Simon Dillon
Eiri Williams
Liz Hampshire
Geoff Johns
Fiona Wimblett
Pauline Higgins
25
Roger Penny
Vivace Chorus
e
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GUILDFORD w
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Through Thick & Thin
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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
Joy Hunter MBE
John and Jean Leston
Platinum Patrons
Robin & Jill Broadley
Roger & Sharon Brockway
Richard & Mary Broughton
Amanda Burn
Humphrey Cadoux-Hudson CBE
Norman Carpenter
Tony & Sylvia Chantler
Andrea & Gunter Dombrowe
Rosemary & Michael Dudley
Susan & Cecil Hinton
Stephen Linton
John McLean OBE & Janet McLean
Ron & Christine Medlow
Lionel & Mary Moon
Peter Norman
Robin Privett
Geoffrey Johns & Sheila Rowell
Jonathan Scott
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 Mary Moon
on 01372 468431 or email: patrons@vivacechorus.org.
27
Vivace Chorus
Vivace Chorus dates for your diary
Majesty
Saturday 28th May 2022 7:30pm
G Live, Guildford
This celebration of royal music starts Guildford’s celebrations of the
Queen’s Platinum Jubilee and is promoted with the support of
Guildford Borough Council. Featuring music from the Queen’s
coronation, including Handel’s Zadok the Priest, Walton’s Crown
Imperial and Parry’s I was glad, this will be a rousing evening
featuring some of Britain’s most popular composers.
A concert for Cherry Trees
Saturday 9th July 2022 7:00pm
Holy Trinity Church, Guildford
In 2020, Vivace Chorus was supposed to tour the cathedrals of
Northern Spain – a tour we’re hoping finally to go on this summer.
We’ll be singing our summer tour programme at a very special
concert in Holy Trinity Church, Guildford, raising money for Cherry
Trees – a charity we’ve supported before. Join us for some classic
choral favourites – the perfect summer evening out.
Feast!
Saturday 19th November 2022 7:30pm
G Live, Guildford
A sumptuous programme to celebrate our 75th birthday! Join us for a
night of luscious British music, including the nation’s favourite –
Vaughan Williams’ The Lark Ascending, plus more Vaughan Williams
and a touch of Holst. Then sit back and be transported to the
decadent Belshazzar’s Feast – an epic work for choir and orchestra
by William Walton. Find out what happens when Belshazzar drinks
from the cups that have been looted from the First Temple and a
mysterious hand appears – the original ‘writing on the wall’. Full of
debauchery, life and energy, Feast! is the perfect way to celebrate a
grand occasion.
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
28
CELEBRATING THE QUEEN’S
PLATINUM JUBILEE
Vivace
Orchestra: West Forest Sinfonia
Conductor: Jeremy Backhouse
Elgar: Coronation Ode
Walton: Overture ‘Crown Imperial’
Handel: Zadok the Priest
Parry: Jerusalem
and more
Saturday
28 May 2022
at 7.30pm
Tickets: (including all fees) £25. Students: half price
Book online GLive.co.uk or phone 01483 369350
Guildford’s state-of-the-art
entertainment venue
In partnership with:
A5-Season 2021-22.indd 11
03/03/2022 13:56
FUTURE CONCERTS
CELEBRATING THE QUEEN’S
PLATINUM JUBILEE
Vivace
The
Conductor: Jeremy Backhouse
Elgar : Coronation Ode
Walton: Overture ‘Crown Imperial’
Handel: Zadok the Priest
Parry: Jerusalem
and more
Saturday
28 May 2022
at 7.30pm
vivacechorus.org
Registered Charity No. 1026337
Guildford’s state-of-the-art
entertainment venue
CHERRY
TREES
Concert
Your choral favourites
including
Handel, Fauré,
Rutter and
Swingle
Vivace
Saturday
9 July 2022
7 pm
Holy Trinity
Guildford
vivacechorus.org
Registered Charity No. 1026337
Retiring collection in aid of:
Walton:
Belshazzar’s
Feast
Vaughan
Willams:
Would you love to sing?
Have you sung before and
would like to get back to it?
Are you commuting less
and have more time in the
evening? Come along on
Mondays at 7.15 pm to
Millmead in the heart of
Guildford and join in with
one of our rehearsals.
Email: Becky membership@
vivacechorus.co.uk to ensure that
we are ready to welcome you.
Best of Broadway-Programme.indd 1
The Lark
Ascending &
Five Mystical
Songs
Conductor:
Jeremy Backhouse
YEARS
Vivace
Registered Charity No. 1026337
Saturday
12 Nov 2022
at 7.30pm
Guildford’s state-of-the-art
entertainment venue