KELLANDS
CHARTERED FINANCIAL PLANNERS
LIVERPOOL WELSH
CHORAL
LE|
BY GIUSEPPE VERDI
~ featuring
300 GLORIOUS VOICES
4 CHOIRS
4 OUTSTANDING SOLOISTS
1 CELEBRATED ORCHESTRA
1 MAGNIFICENT CATHEDRAL
MANCHESTER CAMERATA
|
LIVERPOOL WELSH CHORAL » VIVACE CHORUS
CANTORION MENAI * UNIVERSITY OF LIVERPOOL CHAMBER CHOIR
SOPRANO: CLAIRE RUTTER, MEZZO SOPRANO: JESS DANDY, BARITONE: JAMES CLEVERTON,
TENOR: GWYN HUGHES JONES, CONDUCTOR: KEITH ORRELL
ASATURDAYAPRIL 27TH2024, 7.30PM
Programme - £5
www.lwcu.co.uk
Liverpool Welsh Choral is a registered charity 258458
»
CROESO / WELCOME
THE CHAIRPERSON
It is my pleasure and privilege, as Cadeirydd of LWC to welcome you, the audience, to
participate in what we hope will be a thrilling and uplifting experience. | welcome most
heartily all those who have travelled here to Liverpool to perform for you tonight. The
concert has been a couple of years in the planning with Vivace Chorus and we are also
delighted to be sharing the platform with the University of Liverpool Chamber Choir and
Cantorion Menai. We have enjoyed working with all the choirs, the Cathedral, and the
technology team to produce a magnificent event. We are excited that the moment has finally
arrived to join with so many voices in singing this superb work by Giuseppe Verdi. It will be a
memorable evening for both singers and audience.
Itis a great pleasure to welcome all of you to this special performance of Verdi’s Requiem at this
wonderful Cathedral venue |50 years after its first performance in Milan. Liverpool Welsh
Choral is pleased to be joined by three other choirs, amassing around 300 voices, and to be
accompanied by the Manchester Camerata Orchestra. We also extend a very warm welcome
to our outstanding guest soloists. As you might expect, preparation for the concert by four
choirs has involved a huge amount of rehearsal and coordination. We are particularly grateful
to our Chorus Master, Keith Orrell and to the other Chorus Masters for this massive amount
of work. Liverpool Welsh Choral will soon travel to Guildford, to join the Vivace Chorusin a
reciprocal concert. The period of the Covid pandemic was a particular challenge to all choirs,
but we are most pleased that tonight’s performing choirs have survived this and are certainly
Llywydd
Prof. Huw Rees
flourishing again.
It is appropriate for me to mention that Liverpool Welsh Choral will be marking its 125th
Anniversary in 2025 with a Special Celebratory Concert. So, do keep an eye out for details of that concert on our web site.
That concert will incorporate a new composition by our Chorus Master, Keith Orrell, together with several other works.
LIVERPOOL WELSH CHORAL
Keith Orrell is the latest in a long line of Musical Directors
to conduct the Liverpool Welsh Choral in the choir’s 125year history. Famous names connected to the choir
include Granville Bantock, Sir Charles Groves, Sir
Malcolm Sergeant, and our current patron, Sir Karl
Jenkins. Originally founded by the Welsh Community in
Liverpool to sing in the 1900 Eisteddfod in Liverpool,
LWC now includes singers from all backgrounds.
The choir often sings songs in Welsh and songs by Welsh
composers but works in other languages also form part of
its repertoire. The choir is an accepted part of Liverpool
cultural life, receiving the honour of the Freedom of the
Cityin2013.
MD Keith Orrell constantly focuses
on achieving the highest choral
standards. We are extending and
diversifying our range of music,
exploring music in the jazz idiom and
in musical theatre as well as the great
choral works. LWC has performed
the Verdi Requiem many, many times,
along with other famous Requiems,
such as that of Mozart, last
performed by LWCin 2022.
A great feature of belonging to
Liverpool Welsh Choral is the
opportunity to join with other musical forces, in
Merseyside and beyond, to produce exciting concerts.
Tonight’s collaboration with three other renowned choirs
in this magnificent space is an illustration. One of tonight’s
partners, ULCC, joined us only last year, to produce a
concert of exceptional eclectic musical interest. Later this
season, we will take part in Beethoven’s Ninth Symphony
along with the Liverpool Mozart orchestra, and next
season, we plan to join with Cantorion Menai in a
performance of Elgar’s Dream of Gerontius. Music is very
much a collaborative exercise and we all hope you will
enjoy the experience tonightin this splendid work.
REQUIEM (1874)
GIUSEPPE VERDI (1813-1901)
Requiem,
Requiem aeternam dona eis - grant
them, o Lord, eternal rest,
Et lux perpetua luceat eis - and let
perpetual light shine upon them.
“...words murmured by an invisible crowd over the slow
swaying of a few simple chords, you straightaway sense the
fear and sadness of a vast multitude before the mystery of
death. In the Et lux perpetuum the melody spreads its
wings...before falling back on itself...you hear a sigh for
consolation and eternal peace.”- A haunting description of the
opening of Verdi’s Requiem by the composer Pizzetti in 1941.
THE STORY
The Requiem was first performed 150 years ago on 22 May 1874. By this
time in his long career, Verdi had written over 20 operas. His fame was
world-wide. In 1860 he had been commissioned by the St Petersburg
Opera House, and the resulting opera La Forza Del Destino premiered in
1862. The Egyptian Government offered him 150,000 francs for an opera
to celebrate the opening of the Suez Canal. The magnificent opera Aida
was the result, performed in Cairo in 187 1. Verdi’s situation was thus so
different from that of impoverished and ailing Mozart, when writing his
Requiem, 80 years previously!
It was Verdi himself who decided to compose the Requiem following
the death of his hero Alessandro Manzoni in 1873. To Verdi,
Manzoni was not only the Shakespeare of Italian literature but
also a great patriot. He was a proponent of Italian reunification and, by the time of his death, Rome was finally
the national capital, and lItaly’s borders, recognizable
today, were set.
Verdi had already written a section — the Libera Me —for
a project where several composers came together to commemorate Rossini after the composer’s death in 1868. That
project was doomed to failure, but Verdi used it as his starting point for the Manzoni Requiem, as it was initially known.
FROM MILAN TO LIVERPOOL
Fittingly, the first performance was given on the first anniversary of Manzoni’s death in the Church of San Marco in
Manzoni’s home city of Milan and the soloists were the same who had sung Aida in Cairo.
The female soloists and female members of the choir were veiled and hidden behind a screen — the norm for the Church at
the time. Days later there were three performances in La Scala, Milan to great acclaim.
London first heard the Requiem at the Albert Hall in 1875, conducted by Verdi himself. The performance was repeated
several times over the ensuing weeks. The first performance in Liverpool was given by the Liverpool Philharmonic Society
in 1878.
LIVERPOOL CATHEDRAL
Please ensure that all mobile phones and other communication devices are turned off during the performance.
SOLOISTS
Claire Rutter is well known for the “rich dramatic flair” [The Dallas Examiner] of her
performances of the major Italian and Germanic dramatic roles. She has appeared
internationally in houses including Opera Australia, Florida Grand Opera, Santa Fe Opera,
Minnesota Opera, Opéra National de Bordeaux, Opéra National de Montpellier, Opéra
National du Rhin, Theater Basel, Flemish National Opera, Finnish National Opera and Den
Norske Opera.
This season, Claire’s highlights include the role of Ellen Orford in Peter Grimes at Theater
Erfurt in Germany, and Brahms Requiem and Amy Beach’s Canticle of the Sun at the Royal
Festival Hall with The Bach Choir.
Recent operatic highlights include the role of Amelia Un Ballo in Maschera and Sieglinde Die Walkiire for Grange Park
Opera, Tosca for Icelandic Opera and Welsh National Opera, Leonora La Forza del Destino (also for Welsh National
Opera), the title role in Vanessa for Wexford Festival Opera, Abigaille Nabucco for Dorset Opera, Fidelia Edgar and
Mother LEnfant Prodigue for Scottish Opera, the title role in La Gioconda for Malmé Opera, and Maddalena Andrea
Chénier with Chelsea Opera Group.
Claire has performed diverse repertoire with the all the UK’s top orchestras and many leading international orchestras.
She has collaborated with conductors such as Marin Alsop, Jane Glover, Sir Richard Armstrong, Paolo Arrivabeni,
Stephen Barlow, Carl Davis, Sir Colin Davis, Sir Mark Elder, Edward Gardner, Michael Giittler, David Hill, Gianluca
Marciano, Timothy Myers, David Parry, Vassily Petrenko, Stefano Ranzani and Tobias Ringborg.
Cumbrian born Jess Dandy is the foremost British contralto of her generation and has been
praised for her voice of velvety plangent timbre, and her artistic immediacy. Jess studied
Modern and Medieval Languages at Trinity College, Cambridge and at the Ecole Normale
Supérieure de Lyon. She is an alumna and Fellow of the Guildhall School of Music and
Drama. She has had a stellar career, performing with the greatest orchestras under the most
renowned conductors, in an incredibly crowded schedule.
In addition to her appearance in Liverpool singing Verdi’s Requiem, this season sees Jess
singing Elgar’s Sea Pictures with the Tokyo Symphony Orchestra, Mozart’s Requiem with the
Tampere Philharmonic, and Handel’s Messiah with several orchestras. She will perform in
multiple concerts with the BBC Philharmonic and will appear at both the London Handel
Jess is a multi-faceted artist with a keen interest in ecology, body psychology and spirituality. She is the co-founder of
SongPath, a mental health initiative creating musical walking trails in nature for better mental health. With composer
Alex Mills, she developed the Music & Being Collective, an open laboratory space exploring music and our sense of self
through interdisciplinary dialogue.
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A collection on behalf
of Clatterbridge
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Cancer Charity will
|
be made at the exits
after the concert.
Clatterbridge
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|
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Liverpool Welsh Choral acknowledges with much gratitude the generous
sponsorship of this concert by Kellands Chartered Financial Planners
KELLANDS
Welsh tenor Gwyn Hughes Jones has sung leading roles at many of the world’s major opera
houses, including the Royal Opera House Covent Garden, the Metropolitan Opera, and
Opera national de Paris. He was born in Llanbedrgoch in Anglesey, North Wales. After
attending Ysgol Gyfun in Llangefni, he studied at the Guildhall School of Music and the
National Opera Studio.
He began his career with Welsh National Opera in 1995, singing Ismaele in Nabucco. Since
then, he has gone from strength to strength, singing most of the major romantic and
dramatic leading roles in most of the great prestigious opera houses: Among others:
Rodolfo, in La Boheme; Pinkerton in Madame Butterfly; Cavardarossi in Tosca; Ramades in
Aida; Tristan, in Tristan und Isolde. He has sung with English National Opera; Israeli
Tenor
Philharmonic; London Philharmonic; The New York Metropolitan Opera; and the BBC
LR UG LR
National Orchestra of Wales. In 201 | he took part in opera galas in Sweden to mark the
| 00th Anniversary of Jussi Bjorling’s birth. His extensive concert repertoire includes Verdi’s
Requiem and Mahler’s Das Lied von der Erde.
Also an accomplished recitalist, he recorded the first ever televised recital from the Wigmore Hall, and has appeared in
recital at the St. Olaf Festival in Trondheim, Musashino Civic Cultural Hall in Tokyo, Purcell Room, London and the
Auditorium du Louvre, Paris. His recordings include Macduff in Verdi’s Macbeth (Chandos).
James Cleverton studied at the Royal Conservatoire of Scotland and Zirich Opera’s
International Opera Studio.
In 2022/23 season James appeared as Johann in Werther at the Royal Opera House Covent
Garden, Marco in Gianni Schicchi for Scottish Opera, Baron Douphol in La Traviata for Opera
North and as Daedalus in the world premiere of Raising Icarus by Michael Zev Gordon. In
the current season James is appearing with WNO as Marco, Gianni Schicchi and also baritone
soloist in their Opera Favourites; Mathieu, Andrea Chenier for the Royal Opera House;
Smirnov The Bear with the Rehearsal Orchestra and as Leonid, in Joe Cutler’s Sonata For
Broken Fingers with Birmingham Contemporary Music Group.
Bass / Baritone
bbbl
Concert performances include the Messiah at the Royal Albert Hall with the Royal Festival
Chorus, Fauré Requiem at the Cadogan Hall with the RPO and his Spanish debut singing
Roberto Sierra’s Missa Latina with the Coro y Orquesta Nacional in Madrid. Previous
seasons’ highlights include Alberich in Das Rheingold at the ROH, Papageno in the Magic Flute for Scottish Opera, Frank
in Die Fledermaus for Welsh National Opera and Kallenbach in Satyagraha, Horemhab in Akhnaten and Aristaeus the Man
in The Mask of Orpheus for ENO.
James has performed many of the major Gilbert and Sullivan baritone roles for both The D’Oyly Carte Opera Company
and the International Gilbert and Sullivan Company most notably appearing as the Pirate King in The Pirates of Penzance
at the Savoy Theatre.
Keith has been Musical Director of the Liverpool Welsh Choral since 2004, working to
diversify the repertoire and to build on the musical excellence of the choir. He combines
that with MD of the William Byrd Singers of Manchester. In 201 | he took up the choral
directorship of the Pennine Spring Music Festival. Keith recently retired after thirteen years
as Vocal Projects Leader of Wigan Music Service. He has taken up the role of Director of
Music at the parish church of Eccleston St Mary the Virgin, leaving his previous role as
Organist Emeritus of St Agnes & St Pancras in Liverpool after seventeen years' devoted
service.
He has had an illustrious career, working as Chorus Master of the Hallé Choir in Manchester
for seven years, under leading international conductors such as Kent Nagano and Mark
Conductor
Keith Orrell
Elder. He has acted as guest Chorus Master for other symphony orchestras in the UK,
including the BBC Symphony Chorus. Before joining LWC, he formed and directed the
Shropshire-based chamber choir, the Beaumaris Singers. He worked briefly as Director of
Music at Liverpool’s Metropolitan Cathedral. He has also led children’s choirs, youth choirs and larger mixed adult
choirs.
As a choral composer, Keith is developing a growing repertoire of original works, including Exsultet and The Sacrifice,
both for choir and instrumental ensembles, which have received acclaimed performances. His most recent large
composition for unaccompanied choir, From Harmony, from Heavenly Harmony, had its first performance by the William
Byrd Singers in November 2021. He is currently working on an original large commission for the Liverpool Welsh
Choral's 125th Anniversary Concertin 2025. His list of arrangements, mainly for choir, is extensive. He continues to act
as an adjudicator, and leads choral workshops and courses, including conducting courses for ABCD (the Association of
British Choral Directors).
REQUIEM
BY GIUSEPPE VERDI
THE TEXT
The format of the Requiem Mass (a Mass offered for the repose of the souls departed) differs from the format of the daily
Mass in that the Gloria is omitted. In addition to the daily Mass parts - Kyrie, Sanctus, Benedictus and Agnus Dei,
additional prayers and reflections are used - the Lux Aeterna, Libera Me. A notable addition is the Dies Irae section the Dies lrae itself through to the Lacrymosa. Here, the words come from a dramatic poem attributed to the
Franciscan monk, Thomas of Celano (ca. 1200 - ca. 1265) that vividly evokes the terrors of Hell and fears of Judgment
Day. Verdi chooses to end his Requiem with the Libera Me - a prayer normally spoken over the coffin after the Mass.
The subject changes throughout the Requiem. In the first movement, the mourners ask God for eternal rest for the
deceased. In the Dies Irae, the perspective shifts to that of someone considering their own death. The Sanctus captures
Judgment Day from the angelic point of view, an experience quite different from mere mortals. And in the final Libera
me, the focus returns to the individual human, terrified by death.
150 years ago, the words of the Latin Mass were part of everyday lives for Verdi’s Italian performers and audience alike.
Today, soloists, choir and audience need to work harder to find and understand the drama in the text. Verdi, the master of
opera, had no difficulty describing the drama with his music.
THE MUSIC
Although there were criticisms of the dramatic nature of Verdi’s music - ‘unreligious’, ‘melodramatic’, they were silenced
by Brahms, who, taking his first look at the score, pronounced ‘Only a genius could write such awork.”
The muted ‘tone-painting’ in the opening Requiem aeternam leads us through to an a capella hymn. The deeply
religious Kyrie introduces the soloists, ending with the full ensemble.
Thomas of Celano’s poem of the vision of Judgement Day - the Dies Irae section - cries out for dramatic treatment and
Verdi responds by creating sections that resemble scenes. The impact of the Dies Irae itself foreshadows the storm
scene in his opera Othello over |0 years later.
The fanfare between on-stage and off-stage trumpets signals the arrival of the last trumpet - Tuba Mirum - and the hour
of judgement before the great King of Heaven -Rex Tremendae’.
All the while, the Dies Irae is just under the surface, breaking through here and there. In the Lacrymosa, a moving
lamentation, Verdi has the voices of the choir and soloists beg for pity.
Unusually, much of the latter part of the Requiem is given over to the soloists. There is less drama and a much more
liturgical feel. He explores each voice’s range and gives wonderfully lyrical lines, even fugues and a capella singing.
In the Sanctus the choir is a heavenly host. Trumpet fanfares introduce a double fugue where Verdi shows off his skill,
splitting the chorus into eight parts, ending with Hosannas.
In their Requiems, composers Faure and Durufle offer the final consolation of ‘In Paradisum’ (May the angels lead you to
paradise). Not so Verdi. Following the brief hope of eternal light in Lux Aeterna he focuses the drama on the prayer over
the coffin after the Mass. The opening recitative prayer of the soprano soloist Libera Me is interrupted by the choir’s
urgent reminder of the Dies Irae. Then the prayer returns, at first a feverish fugue which resolves into a fearful,
desperately intoned Libera Me - Deliver Me!
Programme notes by Ann Blundell
'
PART ONE
REQUIEM and KYRIE ELEISON
(Lord, grant them eternal rest and peace; Lord have mercy, Christ have mercy)
Soprano, Mezzo-Soprano, Tenor, Bass and Chorus
DIES IRAE (Day of wrath) Solo Quartet and Chorus
Dies Irae (Day of wrath) Chorus
Tuba Mirum (Thunderous trumpets call the dead from slumber) Bass and Chorus
Liber Scriptus (The book of reckoning lies open) Mezzo-Soprano and Chorus
Quid Sum Miser? (What shall | plead?) Soprano, Mezzo-Soprano and Tenor
Rex Tremendae (Great King, save me, thou fount of mercy) Quartet and Chorus
Recordare (Remember, gentle Jesus, your passion for my sake) Soprano and Mezzo-Soprano
Ingemisco (| repent for my guilt) Tenor
Confutatis (When all the cursed are banished, grant me grace) Bass and Chorus
Lacrymosa (Day of bitter lamentation) Solo Quartet and Chorus
INTERVAL
PART TWO
DOMINE JESU (Lord Jesus Christ, glorious King, free all faithful souls from damnation)
Offertory for Solo Quartet
SANCTUS (Holy! Holy! Holy! Lord God of hosts, heaven and earth are full of thy glory)
Fugue for double Chorus
AGNUS DEI (Lamb of God, who carries the sins of the world, grant them eternal rest)
Soprano, Mezzo-Soprano and Chorus
LUX AETERNA (May everlasting light shine upon them, O Lord)
Mezzo-Soprano, Tenor and Bass
LIBERA ME (Lord, deliver me from everlasting Death) Soprano and Chorus
| VIVACE CHORUS
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 newly-commissioned 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. We are not just a Guildford choir, but
are proud of our touring record in Europe and English cathedral tours. As a choir of more
than 100, we sing regularly with renowned professional orchestras and some of the bestknown international soloists in the most prestigious venues.
Musical Director
Jeremy Backhouse
From Beethoven to Broadway, classical to contemporary, we cover a very diverse
repertoire, all under the friendly and experienced guidance of Music Director, Jeremy
Backhouse and our accompanist, Francis Pott.
VIVACE CHORUS MEMBERS
1ST SOPRANO
Sandra Adamson
Jan Barklem
Isobel Humphreys
Fran McKay
Sarah Smithies
Sel Adamu
Helen Beevers
Becky Kerby
Michelle Mumford
Joanie Thomas
Amelia Atkinson
Jo Haviland
Suzie Maine
Sue Norton
Hilary Vaill
Jackie Alderton
Jane Barnes
Alex Nash
Mary Somerville
Christine Wilks
Gill Backhouse
Scarlett Close
Alison Palmer
Olwyn Westwood
Eiri Williams
Sarah Badger
Ann Fuller
Kate Peters
2ND SOPRANO
1ST ALTO
Barbara Barklem
Philippa Curtis
Charlotte Mathieson
Elinor Pinnegar
Sue Thomas
Jackie Bearman
Fiona Davidge
Penny McLaren
Linda Ross
Hilary Trigg
Marion Blair
Valentina Faedi
Ros Milton
Catherine Shacklady
Fiona Wimblett
Jane Brooks
Lynne Hargreaves
Lilly Nicholson
Marjory Stewart
Maggie Woolcock
Amanda Burn
Jean Leston
Jackie Payne
Julia Stubbs
Evelyn Beastall
Lois McCabe
Val Morcom
Lucy Schonberger
June Windle
Mary Clayton
Penny McFarlane
Pamela Murrell
Jo Stokes
Elisabeth Yates
Sheena Ewen
Kay McManus
Sonja Nagle
Pam Usher
2ND ALTO
I1ST TENOR
2ND TENOR
Andrea Dombrowe
Martin Price
Ewan Bramheld
Stephen Linton
Rosie Jeffery
John Trigg
Peter Butterworth
Peter Norman
Nick Manning
Susie Walker
Simon Dillon
1ST BASS
2ND BASS
Paul Barnes
Phil Stanford
Stuart Gooch
Neil Martin
Phil Beastall
Rob Walker
Nick Gough
Chris Peters
Malcolm Munt
Kieron Walsh
Mike Johns
Richard Wood
Robin Privett
CANTORION MENAI
Cantorion Menai, a bilingual choir, was founded in 1978 by John Hywel, our first conductor. It was founded to give the first
performance of Joseph Parry’s opera, Blodwyn.
We have 65 members from Anglesey and Gwynedd and we hold two concerts each year. Over its 45 years the choir has
performed many works from the traditional to the modern. The choir places a special emphasis on Welsh composers,
such as Menai Bridge composer, William Mathias’s Sant Teilo and This Worlde’s Joie. More well-known works include:
Schubert’s Mass in G, Mozart’s Requiem, Vivaldi’s Gloria, Bach’s St John Passion, Handel’s Messiah.
CANTORION MENAI MEMBERS
1ST SOPRANO
Connie Brewer
Loveday Giles (non CM)
Megan Roberts
Judy Thompson (non CM)
Denise Clarke
Catherine Griffiths
Janeen Shaw (Montes)
Nia Wyn Jones
Ann Ellis
Mary Jones
Margaret Thompson
Nia Humphreys
lola Medi
Bethan Roberts
Karen Jones
Helen Owen
Megan Tomos
Victoria Chance
Isabelle Hudgell
Wendy Kempster
Frances Smith
Ann Coleman
Eryl Humphreys
Diana Roberts
Wendy Williams
Enid Griffiths
Jane Jones
2ND SOPRANO
1ST ALTO
2ND ALTO
Ann Jones
Winnie Jones
Shan MacVicar
Claire Toberman
Margaret Jones
Rhian Lloyd Jones
Marie Madigan
Marion Wyn Jones
Susan Jones
Nia Liwyd
Margaret Roberts
Chris Howard
Robin Kempster
Roger Thompson (non CM)
Gareth Hughes
Bryn Roberts
IST
TENOR
2ND TENOR
Ros James
leuan Jones
David Thompson
Alwyn Jones
Gareth Thomas
Hywel Wyn Owen
Matt Cole
Dewi Jones
Jamie Stroud
Roger Cooper
Ted Jones
1ST BASS
2ND BASS
lan Clarke
Arwel Humphreys
John Mithan
John Edwards
Huw Idris Jones
Graeme Paterson
UNIVERSITY OF LIVERPOOL
CHAMBER CHOIR
The first collaboration between the University of
U N IVERSITY OF LIVE RPOOL
Choral was in the autumn of 2021. Jointly, the wvo CHAMBER CHOIR MEMBERS
Liverpool Chamber Choir and Liverpool Welsh
choirs performed an adventurous and well-received
concert in the newly-opened Tung Auditorium,
1ST SOPRANO
featuring an eclectic range of pieces, from part of
Jess Atkinson
Aimee Hairon
Amy Storey-Gibbons
Rossini’s Petit Messe Solonnelle to Gustav Holst’s
Choral Hymns from the Rig Veda. ULCC has a close
~Riley Collison
Louise Ellinson
Ella Maddocks
Sioned Slee
Anabel Woodward
relationship with the Tung Auditorium, as a key
element in the University’s artistic mission. The choir
performed with a full orchestra at the Tung
Auditorium’s inaugural eventin a concert of Vivaldias
-\
SOPRANO
7y Bowden
|, ..p 0
Mia McGorian
Molly O'Shea
Orla Monaghan
Viki Wreford
Bronte Marsh
aisy Chiu
well as some contemporary repertoire. In the Tung’s
Gala Concert, the choir sang the world premiere of
One World by Shirley . Thompson, scored for
1ST ALTO
Evie Beard
M] Lambert
chamber choir.
Rachel Clemett
Josie Lomax
The chamber choir is composed of members drawn
5\ p AL TO
from undergraduates and postgraduates across the
Helen Boddy
University. Its members, auditioned annually, can be
studying any subject. Louise Ellinson was appointed FEh
Ruby Chalmers
Livia Dytham
ii
S DA
University Choral Director in 2019, but interruption
1sT TENOR
by the Covid pandemic meant that rehearsals only
Dven Bastar
started in earnestin Autumn 202 1.
Mz Diraslar
2ND TENOR
Mohammed Golbaz
Tom Ellinson
Morgan Shuttleworth
1ST BASS
Christopher Deacon
Paul Kalungi
Jacob Hall
Thomas Martyn Stephens
2ND BASS
Aron Rivington
Nathan Williams
Manchester Camerata prides itself on
an original combination of craft and
courage. With 5 star reviews from The
Independent, as well as the accolade of
being hailed
‘Britain’s
most
adventurous orchestra’ (The Times),
Camerata is as comfortable opening
Glastonbury Festival as it is recording Mozart at the highest level. They are passionate about the traditional craft of an
orchestra and how it is evolving. By excelling artistically and having the courage to prioritise bold, compelling and diverse
projects, Camerata makes a positive difference not only to their audiences but to the health and wellbeing of their
communities as well.
.
1
il
To achieve this artistic excellence and forward-thinking ethos, collaboration is at the heart of everything Camerata does.
Led by its visionary Music Director, Gabor Takacs-Nagy, the orchestra collaborates with diverse international artists, from
Martha Argerich to New Order and Aziz Ibrahim to Lewis Capaldi. Their long-standing artistic partnerships with JeanEfflam Bavouzet, Jess Gillam and AMC Gospel Choir sit alongside performances and tours with eminent artists such as
Pinchas Zuckerman, Arvo Pirt, Yefim Bronfman, Javier Perianes, Istvan Vardai and Leticia Moreno amongst others.
With its live performances, Camerata plays music with no boundaries. From an orchestral rave performed in isolation to
over one million people during the Covid- | 9 pandemic, to touring Mozart in the most beautifully intimate concert halls, or
re-imagining classical music with electronic producers at the top of their game, they believe great music is great music and
present this to you at the highest level.
Manchester Camerata believes in the transformative power of music and wants to share these moments with you.
|
LINVERPOOL WELSH
CHORAL
1ST SOPRANO
Christine Anderson
Jane Elliott
Paige McCormick
Lynne Battersby
Sheila Hamilton
Deborah McGovern
Phillippa Pennefather
Mair Pierce Moulton
Ann Blundell
Alison Hollings
Angela Mellor
Janet Smith
Angela Case
Georgia James
Brigitta Michalkiewicz
Julia Thomas
Wendy Charlton
Sue Lees
Clare Orrell
Annabelle Unsworth
Vanessa Crabtree
Romey Lowe
Jane Palmer
Anne Williams
Susy Ejuoneatse
Caroline Manley
Claire Brown
Irene Fennell
Barbara Jones
May Bisset
Brenda Coffey
Kay Hyland
Liz Kelly
Chris Bolton
Wena Evans
Liz Jones
Jean Leeson
Pam Donaghy
Anna O'Connor
Sandra Webster
Alison Shead
Alison Welding
2ND SOPRANO
Margaret Anwyl-Williams
IST ALTO
Kathy Anstey
Margaret Black
Susan Donovan
Geraldine Boocock
Jean Healy
Eileen Sheron
Dorothea Cox
Margaret Heap
Sue Taylor
Hefin Williams
Ximena Wormald
Hazel Davies
Stella McGann
Kath Norton
2ND ALTO
Hannah Blabey
Rosemary Gordon
Rhiannon Liddell
Ruth Boyd
Elizabeth Hall
Pat McCoy
Michael Pate
Lisa Chamberlain
Valerie Hillier
Julia Moore
Josephine Pollard
Alison Evans
Caroline Keating
Pat Naylor
Sue Williams
Jean Bray
Valerie Hildrey
Ann Jones
Peter O'Brien
Arwen Davies
Andrew Hobson
David McCaffrey
Mo Payne
1ST TENOR
Eryl Dooling
LIVERPOOL WELSH CHORAL HOPES
2ND TENOR
Andrew Boyle
Andrew King
David Chamberlain
John Mclachlan
1ST BASS
Andrew Bailey
Bryn Jones
Geraint Davies
Glynn Marsden
Arwel Evans
Malcolm Pembridge
Ifor Griffith
Kevin Rigby
Patrick Hayes
loan Wardhaugh
Jonathan Harris
Christopher Williamson
CONCERT. COME AND HEAR
THEM SING AGAIN:
Beethoven’s Ninth Symphony
with the Liverpool Mozart Orchestra
at the Tung Auditorium,
June 29th, 2024
Festive Fanfare with Northop Silver Band
2ND BASS
David Barker
George Jones
Peter Barlow
Tony Leigh
Eddie Bentley
Peter Lewis
Gareth Howells
THAT YOU ENJOYED TONIGHT'S
at the Tung Auditorium,
December |4th, 2024
125th Anniversary Concert
at the Tung Auditorium,
March 29th, 2025
Prolessional
E
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Investment Life & Pensions
Moneyfacts
:
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B
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Adviser
Firm of the Year
Awards 2021 -2022
KE LLAN D S
North West
Tax
and Estate Planner
CHARTERED FINANCIAL PLANNERS
Providing sound advice
for over 30 years
Kellands Chartered Financial
Planners are delighted to
be supporting this truly
amazing event.
Pensions
@ Mortgages
@ Protection
Investments
@ Life-Time cash flow modelling
‘Life is like riding a bicycle. To keep your balance
you have to keep moving’
Albert Einstein.
Kellands Chartered Financial Planners
can keep your objectives on track.
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