Giacomo Puccini (1858–1924)
Review of Burgess Hill Choral Society concert, 27 April 2019
Burgess Hill Choral Society was on fine form for their spring concert under the baton of Michael Stefan Wood. Together with the Sinfonietta of Sussex, a varied programme of opera choruses and Puccini’s Messa di Gloria entertained and uplifted an appreciative audience. Singing choruses by Verdi, Mozart, Bizet and Wagner, all in their original languages, was a challenge well worth taking. The demands of different vowel and consonant production for the Italian, French and German were well met, as was the Latin text in the mass. The choir provided lovely dynamic shaping in the Voyagers’ Chorus fro Idomeneo, rhythmic coordination in the famous Va Pensiero from Nabucco, an expressive communal sound in With Drooping Wings from Dido and Aeneas, a vibrant Anvil Chorus from Il Trovatore and a moving and heartfelt Pilgrims’ Chorus from Tannhäuser. The Wagner, for me, was the musical highlight of the evening.
Of the three Royal Academy of Music soloists, Meilir Jones had the required platform manner and mellifluous tone to engage the audience. Catriona Holsgrove sang in the Idomeneo extract and brought clarity of tone to Dido’s Lament which was skilfully accompanied by members of the Sinfonietta. Along with the Overture from 'The Marriage of Figaro', the Sinfonietta presented two movements of the Carmen suite with gusto and obvious enjoyment. For the ever-popular Habanera, choir member Trish Symon stepped in a few hours before the concert to transport us to Seville, blowing a kiss to her conductor as she took to the stage. Wood kept the audience up to speed on opera plots as we travelled through civilisations and centuries, most, he warned, with the likelihood of our leading lady dying of a broken heart.
Puccini composed his Messa di Gloria by time he was 21. It marked, though, the culmination of his association with church music and was never played in his lifetime following the first performance in 1880. The benefit of a first half of operatic treats, including Verdi, allowed us to appreciate Verdi’s influence on Puccini’s music. The opening Kyrie immediately demonstrated this and was lyrically performed. The familiar Gloria progressed well and all credit to the basses in the Cum Sancto Spiritu section for their energetic entries. Tenor Peter Harris had the appropriate romantic timbre for the piece. High entries for the soprani and descending strings were all precursors of what would follow in Puccini’s operas, and were handled impressively by choir and orchestra, who established an effective dialogue at the opening of the Credo. The Sanctus united the choir before the impressive Meilir Jones led the Benedictus with dramatic intensity. A reprise of the Gloria brought an evening full of joy to a resolute close.
Rebecca Dowden
28 April 2019
Burgess Hill Choral Society was on fine form for their spring concert under the baton of Michael Stefan Wood. Together with the Sinfonietta of Sussex, a varied programme of opera choruses and Puccini’s Messa di Gloria entertained and uplifted an appreciative audience. Singing choruses by Verdi, Mozart, Bizet and Wagner, all in their original languages, was a challenge well worth taking. The demands of different vowel and consonant production for the Italian, French and German were well met, as was the Latin text in the mass. The choir provided lovely dynamic shaping in the Voyagers’ Chorus fro Idomeneo, rhythmic coordination in the famous Va Pensiero from Nabucco, an expressive communal sound in With Drooping Wings from Dido and Aeneas, a vibrant Anvil Chorus from Il Trovatore and a moving and heartfelt Pilgrims’ Chorus from Tannhäuser. The Wagner, for me, was the musical highlight of the evening.
Of the three Royal Academy of Music soloists, Meilir Jones had the required platform manner and mellifluous tone to engage the audience. Catriona Holsgrove sang in the Idomeneo extract and brought clarity of tone to Dido’s Lament which was skilfully accompanied by members of the Sinfonietta. Along with the Overture from 'The Marriage of Figaro', the Sinfonietta presented two movements of the Carmen suite with gusto and obvious enjoyment. For the ever-popular Habanera, choir member Trish Symon stepped in a few hours before the concert to transport us to Seville, blowing a kiss to her conductor as she took to the stage. Wood kept the audience up to speed on opera plots as we travelled through civilisations and centuries, most, he warned, with the likelihood of our leading lady dying of a broken heart.
Puccini composed his Messa di Gloria by time he was 21. It marked, though, the culmination of his association with church music and was never played in his lifetime following the first performance in 1880. The benefit of a first half of operatic treats, including Verdi, allowed us to appreciate Verdi’s influence on Puccini’s music. The opening Kyrie immediately demonstrated this and was lyrically performed. The familiar Gloria progressed well and all credit to the basses in the Cum Sancto Spiritu section for their energetic entries. Tenor Peter Harris had the appropriate romantic timbre for the piece. High entries for the soprani and descending strings were all precursors of what would follow in Puccini’s operas, and were handled impressively by choir and orchestra, who established an effective dialogue at the opening of the Credo. The Sanctus united the choir before the impressive Meilir Jones led the Benedictus with dramatic intensity. A reprise of the Gloria brought an evening full of joy to a resolute close.
Rebecca Dowden
28 April 2019
Meilir Jones, Peter Harris and Catriona Holsgrove (RAM soloists) and choir, 27 April 2019 (copyright Laurence Leng)
Choir shines in The Armed Man
8th December 2018
The Armed Man was an apt and highly successful choice for Burgess Hill Choral Society’s December concert at St Andrew’s Church. Coming only a few weeks after the nationwide 100th commemoration of the Armistice of World War One, it was a timely, powerful and often sombre reminder of the ultimate sacrifice made by those fighting wars, and war’s innocent victims.
The choir, orchestra, and soloists Cydnei Baines and Jonathan Summers did full justice to their memory with a performance that captured faithfully the rousing and the reflective elements of the music of Karl Jenkins.
All this was given another emotional dimension with pictures on screen portraying the many moods from fear to hope.
Martial jauntiness from the opening piece, also called The Armed Man, quickly put the chorus into its marching stride, with some bold brass and excellent percussion. In confident mood, the choir captured not only the repetitive rhythm of the piece but also its intricate layers of sound.
A deeply moving Kyrie, with immaculately delivered and delicate inter-twined harmonies, featured a plaintive solo from lyric soprano Cydnei Baines. This beautiful plea got to the heart of the matter spiritually, with the basses and tenors of the choir infusing deep gravitas, set against heartbreaking pictures of concentration camps.
The singers showed good timing on the insistent menace of the Sanctus, their careful pacing matching the trudge of the orchestra set against haunting trumpet echoes, which then exploded into power.
Hymn Before Action sounded suitably dramatic and sacrificial. Energy and commitment oozed from Charge, with a memorable shattering climax. In soothing contrast, after the dark opening of the Agnus Dei the soft lightness of female voices brought shafts of light that hinted of peace, while its melody was captured neatly in a touching performance.
During the engaging Benedictus, the long and soothing opening melody by the cello led the singers to raise their voices to heaven in cascades, as if to assert that a full church was the natural home for this extremely soulful piece. The choir, coaxed patiently yet emphatically throughout by conductor Michael Stefan Wood, later erupted in a unified celebration of humanity in the more powerful passages, only occasionally being slightly overwhelmed by the brass and percussion.
A mood of both realism and optimism from the assertive Better is Peace was strongly portrayed by the choir in a stirring finale which eased into a peaceful climax.
All in all, the singers and musicians distilled with conviction the spirit of an impassioned call for peace.
In the rest of the concert, Handel’s stirring Zadok the Priest was sung in triumphant style in the opening half. A joyful session of Christmas carols included a touching and subtle performance of the beautiful Shepherds’ Farewell.
This escapism was uplifting for the festive season. But The Armed Man, who called after the interval, reminded everyone that Christmas and every day after will yet again bring danger, death and strife from conflict for many thousands of people, 18 years after Jenkins first saw his plea for peace performed.
By Phil Dennett, 9 December 2018
Mendelssohn Elijah, 21st April 2018
Stormy oceans, earthquakes and fires in Burgess Hill
The dramatic cry of “Help, Lord!” from the members of Burgess Hill Choral Society heralded the drama that was about to unfold in the performance of Mendelssohn's ‘Elijah’ given on the 21st April. This has become the composer’s most performed oratorio since its first performance in Birmingham in 1846. Despite its popularity, it continues to offer many challenges to choirs, soloists and instrumentalists as they attempt to unfold the dramatic account of Elijah’s life as described in the Old Testament.
This performance at St Andrew’s Church had assembled soloists capable of meeting the composer’s demands and an orchestra that could mostly provide effective support throughout the performance. The singers of Burgess Hill Choral Society provided dramatic impact to the oratorio’s narrative but with an ability to offer a sensitive contribution in quieter sections of the work. The louder fugal sections for chorus were less successful in the acoustic of this church and did occasionally result in lack of unity with the orchestra during faster tempi. However, this is a demanding work for a chorus and the audience could not have failed to be impressed by the rendering of ‘He watching over Israel’ which was the highlight of the evening. The small orchestra made an effective contribution to the performance. However, there were times when the woodwind section was too prominent and covered the sensitive singing in some of the solo items.
The soloists had the vocal qualities to do justice to this work. Clare Tunney and Frances Gregory preformed their arias effectively, with Frances providing the right levels of intense emotion in ‘O rest in the Lord’. Joel Williams used his impressive tenor voice most effectively throughout the evening. His rendering of ‘Then shall the righteous shine forth’ was beautifully sung and with total adherence to the composer’s intentions revealed in the score. The role of Elijah presents a huge challenge for baritones. The part demands an ability to deliver the drama in the soloist’s taunts before the ‘Baal' choruses and to also embrace the tender and often poignant arias found in later parts of the oratorio. Kieran Rayner sang the role with a voice well able to deliver the narrative in this work. It would have been an advantage had a greater range of expression and volume been applied to his singing in the dramatic sections that occur at the heart of this work. However, his final solo, ‘For the mountains shall depart’, deserves special mention since it was very impressive indeed with expressive, sensitive singing throughout this difficult number.
As ever, Michael Stefan Wood gave clear direction to all performers in this challenging work. He should be congratulated for performing these large-scale major works in the choral repertoire with amateur performers in the local community. On 8th December he will perform works by Karl Jenkins and John Rutter with Burgess Hill Choral Society – a date to note by all music lovers.
Viv Nicholas, 21 April 2018
Stormy oceans, earthquakes and fires in Burgess Hill
The dramatic cry of “Help, Lord!” from the members of Burgess Hill Choral Society heralded the drama that was about to unfold in the performance of Mendelssohn's ‘Elijah’ given on the 21st April. This has become the composer’s most performed oratorio since its first performance in Birmingham in 1846. Despite its popularity, it continues to offer many challenges to choirs, soloists and instrumentalists as they attempt to unfold the dramatic account of Elijah’s life as described in the Old Testament.
This performance at St Andrew’s Church had assembled soloists capable of meeting the composer’s demands and an orchestra that could mostly provide effective support throughout the performance. The singers of Burgess Hill Choral Society provided dramatic impact to the oratorio’s narrative but with an ability to offer a sensitive contribution in quieter sections of the work. The louder fugal sections for chorus were less successful in the acoustic of this church and did occasionally result in lack of unity with the orchestra during faster tempi. However, this is a demanding work for a chorus and the audience could not have failed to be impressed by the rendering of ‘He watching over Israel’ which was the highlight of the evening. The small orchestra made an effective contribution to the performance. However, there were times when the woodwind section was too prominent and covered the sensitive singing in some of the solo items.
The soloists had the vocal qualities to do justice to this work. Clare Tunney and Frances Gregory preformed their arias effectively, with Frances providing the right levels of intense emotion in ‘O rest in the Lord’. Joel Williams used his impressive tenor voice most effectively throughout the evening. His rendering of ‘Then shall the righteous shine forth’ was beautifully sung and with total adherence to the composer’s intentions revealed in the score. The role of Elijah presents a huge challenge for baritones. The part demands an ability to deliver the drama in the soloist’s taunts before the ‘Baal' choruses and to also embrace the tender and often poignant arias found in later parts of the oratorio. Kieran Rayner sang the role with a voice well able to deliver the narrative in this work. It would have been an advantage had a greater range of expression and volume been applied to his singing in the dramatic sections that occur at the heart of this work. However, his final solo, ‘For the mountains shall depart’, deserves special mention since it was very impressive indeed with expressive, sensitive singing throughout this difficult number.
As ever, Michael Stefan Wood gave clear direction to all performers in this challenging work. He should be congratulated for performing these large-scale major works in the choral repertoire with amateur performers in the local community. On 8th December he will perform works by Karl Jenkins and John Rutter with Burgess Hill Choral Society – a date to note by all music lovers.
Viv Nicholas, 21 April 2018
Christmas concert: 9th December 2017
Christmas Concert – 9th December 2017Burgess Hill Choral Society entertained a full house in St Andrew’s Church last Saturday with an interesting and varied Christmas programme. As is traditional, the audience was given the opportunity to exercise their vocal skills in between the choral and orchestral pieces. They were given their cue by the first contribution from one of four exciting young soloists: soprano Nardus Williams singing solo the first verse of Once in Royal David’s City. Musical Director Mike Wood BEM, celebrating 30 years of leading the Choral Society, ensured that we were kept on our toes.
An unaccompanied, punchy rendition of Gaudete (brought to a wider audience – certainly to us – by Steeleye Span) was followed by Alan Smith’s haunting setting of the 15th century carol ‘There is no Rose’ (pub. Oxford Christmas Music 2006). This concert was dedicated to the memory of Alan, the organist at St Andrew’s and Composer in Residence to the Choral Society from 2008–2011, who died earlier this year.
The first half ended with a performance of Bach’s popular cantata Wachet Auf (‘Sleepers Awake!’). Nardus Williams was joined by mezzo-soprano Frances Gregory, tenor Joel Williams and baritone Robert Garland in the solo recitatives and duets. It is good to see the Choral Society showcasing such an array of young talent. All four soloists are generously supported by the Josephine Baker Trust. The Burgess Hill Concert Orchestra provided subtle accompaniment, with leader Richard Sutcliffe and oboist Clare Worth tackling particularly challenging solo parts with aplomb.
After the interval, the Concert Orchestra had the chance to shine in Albinoni’s Double Oboe Concerto. Soloists David Hollingum and Clare Worth blended their tones beautifully. The brilliant final movement was taken – successfully – at a challenging pace.
The choir then entertained us a cappella with James Helme Sutcliffe’s modern (1988) arrangement of ‘Sleep, sleep little boy’, a gentle piece with exquisite harmonies.
Haydn’s ‘Nelson’ Mass began with a stirring Kyrie, featuring Nardus Williams’s liquid tones with strong support from the brass and the choir and excellent dramatic contrasts. In the Gloria all four soloists combined well. Qui Tollis was contemplative, with nice interplay between the baritone and soprano and the choir. Throughout, there was a strong sense of musical direction from Mike Wood, with deft handling of changes in tempo.
Burgess Hill Choral Society’s next concert at St Andrew’s Church on 21 April 2018 will feature a performance of Mendelssohn’s Elijah. We’re looking forward to it.
Richard Light and Jacky Hilary
December 2017
An unaccompanied, punchy rendition of Gaudete (brought to a wider audience – certainly to us – by Steeleye Span) was followed by Alan Smith’s haunting setting of the 15th century carol ‘There is no Rose’ (pub. Oxford Christmas Music 2006). This concert was dedicated to the memory of Alan, the organist at St Andrew’s and Composer in Residence to the Choral Society from 2008–2011, who died earlier this year.
The first half ended with a performance of Bach’s popular cantata Wachet Auf (‘Sleepers Awake!’). Nardus Williams was joined by mezzo-soprano Frances Gregory, tenor Joel Williams and baritone Robert Garland in the solo recitatives and duets. It is good to see the Choral Society showcasing such an array of young talent. All four soloists are generously supported by the Josephine Baker Trust. The Burgess Hill Concert Orchestra provided subtle accompaniment, with leader Richard Sutcliffe and oboist Clare Worth tackling particularly challenging solo parts with aplomb.
After the interval, the Concert Orchestra had the chance to shine in Albinoni’s Double Oboe Concerto. Soloists David Hollingum and Clare Worth blended their tones beautifully. The brilliant final movement was taken – successfully – at a challenging pace.
The choir then entertained us a cappella with James Helme Sutcliffe’s modern (1988) arrangement of ‘Sleep, sleep little boy’, a gentle piece with exquisite harmonies.
Haydn’s ‘Nelson’ Mass began with a stirring Kyrie, featuring Nardus Williams’s liquid tones with strong support from the brass and the choir and excellent dramatic contrasts. In the Gloria all four soloists combined well. Qui Tollis was contemplative, with nice interplay between the baritone and soprano and the choir. Throughout, there was a strong sense of musical direction from Mike Wood, with deft handling of changes in tempo.
Burgess Hill Choral Society’s next concert at St Andrew’s Church on 21 April 2018 will feature a performance of Mendelssohn’s Elijah. We’re looking forward to it.
Richard Light and Jacky Hilary
December 2017
George Frideric Handel
Spring Concert – 1st April 2017
HATS OFF TO BURGESS HILL CHORAL SOCIETY
St Andrew’s Church was packed for the performance of Handel’s “Messiah” by the Burgess Hill Choral Society on Saturday April 1st 2017. Accompanied by the Burgess Hill Concert Orchestra (leader Richard Sutcliffe) and with four fine young soloists from the Royal College of Music it proved an evening to remember.
Under the dynamic baton of conductor Michael Stefan Wood BEM the performance was taken at a cracking pace right from the start with the Orchestra on top form in the opening Sinfonia. Tenor Stephen Mills created a most atmospheric realisation of “Comfort Ye my people” and his singing throughout the evening was resonant and expressive. The opening chorus “And the Glory of the Lord” was a sign of the fine things to come from the Choral Society being sung with great rhythmic vitality and good precision in articulation and text. The bass Kieran Rayner made a big impact with his first recit., followed by a most expressive performance of “But who may Abide?” from mezzo soprano Kamilla Dunstan. The Choir responded with some excellent work in the famous choruses “And He Shall Purify” and “Unto Us a Child is Born” and the balance with the orchestra was very well managed by Maestro Wood throughout the evening. The first appearance of soprano Louise Fuller as the shepherds approached Bethlehem was suitably dramatic, making good use of her vibrant tone and operatic experience to convey the famous story. Particularly impressive was the ending of the first half with three demanding choruses in a row – “Surely” followed by “And with His Stripes” into “All We Like Sheep”. The Choir kept up their energy and discipline here and the fugal voicing was excellent, and the shaping and colouring that they achieved is of great credit to the vision and expertise of their inspirational conductor.
After some refreshment the second half of the evening continued in a similar vein, sustaining the rhythmic buoyancy and expressive communication that had been established right from the beginning. Soloists were again in fine voice and the dark power and drama that the bass Kieran Rayner achieved in both his famous arias was most impressive, accompanied in “The Trumpet Shall Sound” with fine playing from 1st trumpet Andy Baxter. The Hallelujah Chorus was suitably uplifting and hats off to the Choral Society for maintaining their discipline and energy right to the end, drawing a standing ovation from the captivated audience.
So a splendid 70th birthday concert from Burgess Hill Choral which must be one of the finest they have given. I look forward to their Christmas concert on December 9th featuring Haydn’s “Nelson Mass” alongside carols for Choir and Audience – and if that’s too long to wait, why not join them in St Andrew’s Church for a Come-and-Sing day of Mozart’s Requiem on Saturday 20th May led by Mike Wood.
Richard Haslam
HATS OFF TO BURGESS HILL CHORAL SOCIETY
St Andrew’s Church was packed for the performance of Handel’s “Messiah” by the Burgess Hill Choral Society on Saturday April 1st 2017. Accompanied by the Burgess Hill Concert Orchestra (leader Richard Sutcliffe) and with four fine young soloists from the Royal College of Music it proved an evening to remember.
Under the dynamic baton of conductor Michael Stefan Wood BEM the performance was taken at a cracking pace right from the start with the Orchestra on top form in the opening Sinfonia. Tenor Stephen Mills created a most atmospheric realisation of “Comfort Ye my people” and his singing throughout the evening was resonant and expressive. The opening chorus “And the Glory of the Lord” was a sign of the fine things to come from the Choral Society being sung with great rhythmic vitality and good precision in articulation and text. The bass Kieran Rayner made a big impact with his first recit., followed by a most expressive performance of “But who may Abide?” from mezzo soprano Kamilla Dunstan. The Choir responded with some excellent work in the famous choruses “And He Shall Purify” and “Unto Us a Child is Born” and the balance with the orchestra was very well managed by Maestro Wood throughout the evening. The first appearance of soprano Louise Fuller as the shepherds approached Bethlehem was suitably dramatic, making good use of her vibrant tone and operatic experience to convey the famous story. Particularly impressive was the ending of the first half with three demanding choruses in a row – “Surely” followed by “And with His Stripes” into “All We Like Sheep”. The Choir kept up their energy and discipline here and the fugal voicing was excellent, and the shaping and colouring that they achieved is of great credit to the vision and expertise of their inspirational conductor.
After some refreshment the second half of the evening continued in a similar vein, sustaining the rhythmic buoyancy and expressive communication that had been established right from the beginning. Soloists were again in fine voice and the dark power and drama that the bass Kieran Rayner achieved in both his famous arias was most impressive, accompanied in “The Trumpet Shall Sound” with fine playing from 1st trumpet Andy Baxter. The Hallelujah Chorus was suitably uplifting and hats off to the Choral Society for maintaining their discipline and energy right to the end, drawing a standing ovation from the captivated audience.
So a splendid 70th birthday concert from Burgess Hill Choral which must be one of the finest they have given. I look forward to their Christmas concert on December 9th featuring Haydn’s “Nelson Mass” alongside carols for Choir and Audience – and if that’s too long to wait, why not join them in St Andrew’s Church for a Come-and-Sing day of Mozart’s Requiem on Saturday 20th May led by Mike Wood.
Richard Haslam
Burgess Hill Choral Society Christmas Concert – 10th December 2016
Burgess Hill Choral Society and its companion Concert Orchestra gave a large and expectant audience a real treat with its pre-Christmas jamboree in St Andrew’s Church on Saturday December 10th.
A very varied and exciting programme began with the first of four congregational carols, sung with vigour and gusto, the choir popping their descant on top, leading to the Willcocks arrangement of Tomorrow shall be my Dancing Day which featured the excellent baritone Daniel de Souza, then a modern carol by Nick Nye and Simon Austin which took a humorous swipe at Isaiah 11.
These were an hors-d’oeuvre to Mozart’s beautifully succinct Coronation Mass whose relative brevity still gave the choir rich pickings in lovely choral writing, their evident enjoyment clearly conveyed to the audience. Mozart gives the four soloists more ensembles than solos, and pairing soprano Josephine Goddard’s fluent, lyrical singing with Lauren Morris’s rich and mellow alto, Benjamin Durrant’s full tenor line with Daniel’s pure baritone, then all in full ensemble, were a joy to hear.
Tchaikovsky’s Nutcracker Suite started the second half and the brass warmed up beautifully in the March and the strings set the audience swinging with their Waltz of the Flowers after that magical harp cadenza caught us all spell-bound.
Further delights were in store. Rocking was beautifully sung by Josephine over a nifty arrangement for humming choir and strings, followed by the evening’s challenge piece: Rutter’s Gloria. With the ghost of Walton hovering above the very dramatic brass and percussion opening, the choir launched into the Gloria with energy and purpose. Their clear diction and commendably maintained rhythmic drive were testament to the excellent work in preparation and execution by their maestro conductor, Mike Wood, whose precise and authoritative direction spurred them on. The lyrical contrast of Josephine and Lauren’s duet in the Miserere section was then shattered by some of the more difficult passages in the Quoniam, which the choir ably negotiated, leading to a harking back to the character of the opening which appropriately rounded the work off in style.
This was a thoroughly diverse and enjoyable evening which also raised funds for St Peter & St James Hospice.
Simon Austin, December 2016
Burgess Hill Choral Society and its companion Concert Orchestra gave a large and expectant audience a real treat with its pre-Christmas jamboree in St Andrew’s Church on Saturday December 10th.
A very varied and exciting programme began with the first of four congregational carols, sung with vigour and gusto, the choir popping their descant on top, leading to the Willcocks arrangement of Tomorrow shall be my Dancing Day which featured the excellent baritone Daniel de Souza, then a modern carol by Nick Nye and Simon Austin which took a humorous swipe at Isaiah 11.
These were an hors-d’oeuvre to Mozart’s beautifully succinct Coronation Mass whose relative brevity still gave the choir rich pickings in lovely choral writing, their evident enjoyment clearly conveyed to the audience. Mozart gives the four soloists more ensembles than solos, and pairing soprano Josephine Goddard’s fluent, lyrical singing with Lauren Morris’s rich and mellow alto, Benjamin Durrant’s full tenor line with Daniel’s pure baritone, then all in full ensemble, were a joy to hear.
Tchaikovsky’s Nutcracker Suite started the second half and the brass warmed up beautifully in the March and the strings set the audience swinging with their Waltz of the Flowers after that magical harp cadenza caught us all spell-bound.
Further delights were in store. Rocking was beautifully sung by Josephine over a nifty arrangement for humming choir and strings, followed by the evening’s challenge piece: Rutter’s Gloria. With the ghost of Walton hovering above the very dramatic brass and percussion opening, the choir launched into the Gloria with energy and purpose. Their clear diction and commendably maintained rhythmic drive were testament to the excellent work in preparation and execution by their maestro conductor, Mike Wood, whose precise and authoritative direction spurred them on. The lyrical contrast of Josephine and Lauren’s duet in the Miserere section was then shattered by some of the more difficult passages in the Quoniam, which the choir ably negotiated, leading to a harking back to the character of the opening which appropriately rounded the work off in style.
This was a thoroughly diverse and enjoyable evening which also raised funds for St Peter & St James Hospice.
Simon Austin, December 2016
Joseph Haydn (1732–1809)
BURGESS HILL CHORAL SOCIETY SPRING CONCERT – 23rd APRIL 2016
Burgess Hill Choral Society chose Haydn's Creation for their St George's Day concert in St Andrew's Church, and it was clear from the first extraordinary bars of The Representation of Chaos that we were in for a very special evening. Late in life Haydn was introduced to the works of the great Baroque composers, and the dazzling fugal choruses of The Creation breathe the same air as Messiah and Bach's B minor Mass.
It was greatly to the credit of the 70-strong choir and large orchestra that they showed not only the agility, finesse and clarity that this work requires, but also the sense of excitement and joy which imbues it. They were helped by the generous acoustics of St Andrew's Church, as well as by the brisk tempi, the excellent orchestral playing, and the tight and unfussy control exercised by the conductor, Michael Stefan Wood.
The three young soloists acquitted themselves splendidly, especially the tenor Peter Aisher, who shone in that great paean of the Enlightenment, 'In Native Worth'. This was the aria which was sung impromptu to Haydn by a French soldier in 1809, drawing tears of emotion down the old man's face.
Congratulations too on the fine new building on the north side of the church, and the comfortable new seats.
Such physical comforts greatly enhance our musical enjoyment.
Nick Milner-Gulland
April 2016
Burgess Hill Choral Society chose Haydn's Creation for their St George's Day concert in St Andrew's Church, and it was clear from the first extraordinary bars of The Representation of Chaos that we were in for a very special evening. Late in life Haydn was introduced to the works of the great Baroque composers, and the dazzling fugal choruses of The Creation breathe the same air as Messiah and Bach's B minor Mass.
It was greatly to the credit of the 70-strong choir and large orchestra that they showed not only the agility, finesse and clarity that this work requires, but also the sense of excitement and joy which imbues it. They were helped by the generous acoustics of St Andrew's Church, as well as by the brisk tempi, the excellent orchestral playing, and the tight and unfussy control exercised by the conductor, Michael Stefan Wood.
The three young soloists acquitted themselves splendidly, especially the tenor Peter Aisher, who shone in that great paean of the Enlightenment, 'In Native Worth'. This was the aria which was sung impromptu to Haydn by a French soldier in 1809, drawing tears of emotion down the old man's face.
Congratulations too on the fine new building on the north side of the church, and the comfortable new seats.
Such physical comforts greatly enhance our musical enjoyment.
Nick Milner-Gulland
April 2016
Karl Jenkins
(b. 1944)
BURGESS HILL CHORAL SOCIETY CHRISTMAS CONCERT – 12th DECEMBER 2015
We were welcomed back to St. Andrew’s Church after its refurbishment for Burgess Hill Choral Society’s Christmas Concert on Saturday December 12th. It was lovely to walk through from the Rider hall in the warm and dry and the removal of the choir stalls has given a great feeling of space. It was certainly the warmest I have ever been in St. Andrew’s and the lighting is much improved too!
The concert was a delightful mix of carols for audience and choir with the two main highlights being Vaughan Williams Fantasia on Christmas Carols and Karl Jenkins Gloria, all accompanied by the superb Burgess Hill Concert Orchestra (leader Richard Sutcliffe) under the evergreen baton of Maestro Mike Wood BEM.
Highlights of the first half were a lovely arrangement for choir, orchestra and baritone soloist Nicholas Morton of Past Three a Clock coupled with an unusual setting of While Shepherds Watched. The choir sang with great rhythmic energy and excellent diction here and an impressive range of dynamic colour, accompanied most sensitively by the orchestra. This was followed by one of my favourite Christmas pieces, the Carol Symphony by Hely-Hutchinson. This is a real showpiece and the orchestra rose to the challenge with fine playing from all sections, from the rhythmic lilt in the strings, crisply articulated woodwind, haunting harp playing and vibrant brass and percussion, leading to a most exciting realisation of this wonderful piece. The tricky tempo changes were superbly managed by Maestro Wood who drew out all the differing moods of the piece with great skill. The first half ended with an atmospheric performance of the Vaughan Williams Fantasia on Christmas Carols. From the expressive cello opening to the resonant and communicative singing of soloist Nicholas Morton backed by some fine singing from the choir, this was a real treat. So nice to hear it with full orchestral backing too.
After mulled wine and mince pies we all joined in enthusiastically with Good King Wenceslas before the choir treated us to Down in Yon Forest and Here we Come a-Wassailing sung with good energy and effective balance. This led us into the main event of the evening, the wonderful Gloria by Karl Jenkins. This is a real challenge for any choir and Burgess Hill rose to it with great energy and commitment. It was narrated with great presence, clarity and imagination by Hannah Summers, and Nicholas Morton gave a most resonant and expressive performance of the one solo in the piece, I’ll Make Music. But hats off to the choir for their excellent delivery of the Hebrew parts of the text and some committed and colourful singing and we all enjoyed joining in with Psalm 150! Congratulations to the Orchestra for playing with such confidence and aplomb throughout and if, towards the end, the brass section did overpower proceedings a little, it nevertheless was a most exciting and colourful performance, bringing the evening to terrific climax.
I look forward to the Society’s Spring Concert on April 23rd when they will perform Haydn’s Creation – not to be missed!
Richard Haslam, December 2015
We were welcomed back to St. Andrew’s Church after its refurbishment for Burgess Hill Choral Society’s Christmas Concert on Saturday December 12th. It was lovely to walk through from the Rider hall in the warm and dry and the removal of the choir stalls has given a great feeling of space. It was certainly the warmest I have ever been in St. Andrew’s and the lighting is much improved too!
The concert was a delightful mix of carols for audience and choir with the two main highlights being Vaughan Williams Fantasia on Christmas Carols and Karl Jenkins Gloria, all accompanied by the superb Burgess Hill Concert Orchestra (leader Richard Sutcliffe) under the evergreen baton of Maestro Mike Wood BEM.
Highlights of the first half were a lovely arrangement for choir, orchestra and baritone soloist Nicholas Morton of Past Three a Clock coupled with an unusual setting of While Shepherds Watched. The choir sang with great rhythmic energy and excellent diction here and an impressive range of dynamic colour, accompanied most sensitively by the orchestra. This was followed by one of my favourite Christmas pieces, the Carol Symphony by Hely-Hutchinson. This is a real showpiece and the orchestra rose to the challenge with fine playing from all sections, from the rhythmic lilt in the strings, crisply articulated woodwind, haunting harp playing and vibrant brass and percussion, leading to a most exciting realisation of this wonderful piece. The tricky tempo changes were superbly managed by Maestro Wood who drew out all the differing moods of the piece with great skill. The first half ended with an atmospheric performance of the Vaughan Williams Fantasia on Christmas Carols. From the expressive cello opening to the resonant and communicative singing of soloist Nicholas Morton backed by some fine singing from the choir, this was a real treat. So nice to hear it with full orchestral backing too.
After mulled wine and mince pies we all joined in enthusiastically with Good King Wenceslas before the choir treated us to Down in Yon Forest and Here we Come a-Wassailing sung with good energy and effective balance. This led us into the main event of the evening, the wonderful Gloria by Karl Jenkins. This is a real challenge for any choir and Burgess Hill rose to it with great energy and commitment. It was narrated with great presence, clarity and imagination by Hannah Summers, and Nicholas Morton gave a most resonant and expressive performance of the one solo in the piece, I’ll Make Music. But hats off to the choir for their excellent delivery of the Hebrew parts of the text and some committed and colourful singing and we all enjoyed joining in with Psalm 150! Congratulations to the Orchestra for playing with such confidence and aplomb throughout and if, towards the end, the brass section did overpower proceedings a little, it nevertheless was a most exciting and colourful performance, bringing the evening to terrific climax.
I look forward to the Society’s Spring Concert on April 23rd when they will perform Haydn’s Creation – not to be missed!
Richard Haslam, December 2015
Johannes Brahms
1833–1897
Brahms: Ein Deutsches Requiem
Burgess Hill Choral Society
25 April 2015
at The King's Church, Burgess Hill
On Saturday April 25th Burgess Hill Choral Society and Concert Orchestra were hosted by The King’s Church in Burgess Hill in performances of Brahms’s German Requiem and Beethoven’s Symphony Number 6, the Pastoral, under the expert direction of Michael Stefan Wood.
Burgess Hill Concert Orchestra, under their leader Richard Sutcliffe, gave a very creditable rendition of the Beethoven, with the lighter spirit of this symphony well conveyed in the pastel orchestration and subtle dynamic changes of the first movement, the persuasive woodwind dialogues of the second then the dramatic attacca transitions through the ‘thunderstorm’ of the fourth, with its timpani thunder claps and brass rumblings and the emerging reconciliation of the last movement’s ‘Shepherd’s song’.
The Brahms is a deceptively challenging work, bravely tackled by the Choral Society in German, where the melodic lines and phrasing sit better than in translated versions. The choir were well drilled in pronunciation, diction and hard-consonant endings and made a very good fist of the work. Particularly impressive were the many fugal passages, some with tricky entries, and the numerous tempo changes, all seamlessly managed through attention to Maestro Wood’s clear direction. The alto and tenor voices deserve special praise as the inner parts in this work are exacting and they were up to the mark throughout. The basses held the texture together well and, despite wavering a little towards the end, the sopranos managed the exposed top line pretty well. Highlights were the grand climax to the second section with its insistent, pounding timpani triplets underpinning the texture and the lovely contrasting fourth with its soaring flute line inspiring the choir’s sensitive response.
Nick Forrest sang the two baritone solos. His somewhat careful performance, with fine peaks in the higher register, seemed a little uneven in delivery. The last section Brahms added, the fifth, is believed to be dedicated to the memory of his mother and was beautifully crafted by the soprano Gemma Summerfield with her effortless, ethereal, floating arc inspiring the choir’s emotional empathy.
Choral societies have been a cornerstone of communal music making for many years and it is good to see younger members coming through the ranks. In Michael’s capable hands this reviewer trusts to see the musical enjoyment and camaraderie offered by this group continuing for many years.
Simon Austin
Burgess Hill Choral Society
25 April 2015
at The King's Church, Burgess Hill
On Saturday April 25th Burgess Hill Choral Society and Concert Orchestra were hosted by The King’s Church in Burgess Hill in performances of Brahms’s German Requiem and Beethoven’s Symphony Number 6, the Pastoral, under the expert direction of Michael Stefan Wood.
Burgess Hill Concert Orchestra, under their leader Richard Sutcliffe, gave a very creditable rendition of the Beethoven, with the lighter spirit of this symphony well conveyed in the pastel orchestration and subtle dynamic changes of the first movement, the persuasive woodwind dialogues of the second then the dramatic attacca transitions through the ‘thunderstorm’ of the fourth, with its timpani thunder claps and brass rumblings and the emerging reconciliation of the last movement’s ‘Shepherd’s song’.
The Brahms is a deceptively challenging work, bravely tackled by the Choral Society in German, where the melodic lines and phrasing sit better than in translated versions. The choir were well drilled in pronunciation, diction and hard-consonant endings and made a very good fist of the work. Particularly impressive were the many fugal passages, some with tricky entries, and the numerous tempo changes, all seamlessly managed through attention to Maestro Wood’s clear direction. The alto and tenor voices deserve special praise as the inner parts in this work are exacting and they were up to the mark throughout. The basses held the texture together well and, despite wavering a little towards the end, the sopranos managed the exposed top line pretty well. Highlights were the grand climax to the second section with its insistent, pounding timpani triplets underpinning the texture and the lovely contrasting fourth with its soaring flute line inspiring the choir’s sensitive response.
Nick Forrest sang the two baritone solos. His somewhat careful performance, with fine peaks in the higher register, seemed a little uneven in delivery. The last section Brahms added, the fifth, is believed to be dedicated to the memory of his mother and was beautifully crafted by the soprano Gemma Summerfield with her effortless, ethereal, floating arc inspiring the choir’s emotional empathy.
Choral societies have been a cornerstone of communal music making for many years and it is good to see younger members coming through the ranks. In Michael’s capable hands this reviewer trusts to see the musical enjoyment and camaraderie offered by this group continuing for many years.
Simon Austin
Gabriel Fauré (1845–1924)
and Camille Saint-Saëns (1835–1921)
Fauré Requiem, Fauré Cantique de Jean Racine,
Saint-Saëns Christmas Oratorio
Saturday 13th December 2014
Christmas is here!
Those lucky enough to be in Burgess Hill on Saturday night were treated to a feast of Christmas music in a packed St Andrew’s Church. Not only were there carols galore but also two more substantial pieces, Fauré’s Requiem and Saint-Saëns’ Christmas Oratorio. For the Burgess Hill Choral Society, which has recently scaled the heights of Verdi’s Requiem, this programme held no terrors, and both pieces were sung with sensitivity and (generally) assurance; the quintet of young soloists from the RCM sang superbly, particularly the baritone Timothy Nelson, whose Offertorium and Libera Me were highlights of the evening.
The choir was at its best in the quieter pieces – Fauré’s Cantique de Jean Racine, Pearsall’s In Dulci Jubilo and Tavener’s The Lamb, where their warm expressive tone and good blend were heard to excellent effect. Sometimes a stronger attack was needed, and the basses seemed underpowered, but these are modest criticisms.
Another highlight was the première of Simon Austin’s attractive Concertino for Treble Recorder performed by Douglas Brion. This young man played with an assurance and musicianship which belied his 17 years, relishing the jazzy harmonies and teasing rhythms, and the delightfully soupy slow movement. His intonation and fingerwork were immaculate. The instrumental ensemble were not always precise and the piece might have benefited from an accompaniment of solo strings.
At the helm as always was the flamboyant Michael Stefan Wood, who received a warm ovation from the delighted audience. One final comment: sitting on a hard chair for nearly three hours is a challenge for this member of the audience, however delightful the music. Send them away wanting more!
Nick Milner-Gulland
Saint-Saëns Christmas Oratorio
Saturday 13th December 2014
Christmas is here!
Those lucky enough to be in Burgess Hill on Saturday night were treated to a feast of Christmas music in a packed St Andrew’s Church. Not only were there carols galore but also two more substantial pieces, Fauré’s Requiem and Saint-Saëns’ Christmas Oratorio. For the Burgess Hill Choral Society, which has recently scaled the heights of Verdi’s Requiem, this programme held no terrors, and both pieces were sung with sensitivity and (generally) assurance; the quintet of young soloists from the RCM sang superbly, particularly the baritone Timothy Nelson, whose Offertorium and Libera Me were highlights of the evening.
The choir was at its best in the quieter pieces – Fauré’s Cantique de Jean Racine, Pearsall’s In Dulci Jubilo and Tavener’s The Lamb, where their warm expressive tone and good blend were heard to excellent effect. Sometimes a stronger attack was needed, and the basses seemed underpowered, but these are modest criticisms.
Another highlight was the première of Simon Austin’s attractive Concertino for Treble Recorder performed by Douglas Brion. This young man played with an assurance and musicianship which belied his 17 years, relishing the jazzy harmonies and teasing rhythms, and the delightfully soupy slow movement. His intonation and fingerwork were immaculate. The instrumental ensemble were not always precise and the piece might have benefited from an accompaniment of solo strings.
At the helm as always was the flamboyant Michael Stefan Wood, who received a warm ovation from the delighted audience. One final comment: sitting on a hard chair for nearly three hours is a challenge for this member of the audience, however delightful the music. Send them away wanting more!
Nick Milner-Gulland
Giuseppe Verdi (1813–1901)
VERDI REQUIEM
Burgess Hill Choral Society
Saturday April 26th 2014
The Requiem is Verdi's most dramatic work which, combined with the most glorious melodies, has led to it being labelled Verdi's finest opera! Certainly this work is where opera meets oratorio resulting in one of the best loved works in the choral repertoire.
A truly impressive force numbering around 140 performers took part in this memorable concert. Burgess Hill Choral Society was augmented by singers from Brighton Chamber and Brighton Orpheus Choirs and accompanied by Burgess Hill Concert Orchestra (leader Martin Palmer). Four soloists, all with glittering operatic CVs, completed the line-up.
The mood of drama and mystery was established straight away by the choir with well judged dynamics, sensitive phrasing, clear diction and secure intonation. The Dies Irae movement describes the Last Judgement and this is where all the forces came into their own. The terror and doom were brilliantly conveyed by the orchestra and choir at full throttle. One would have to concede victory to the orchestra in the loudest sections but the choir gave them a good run for their money! The large brass section was displayed to stunning effect as the last trumpet reverberated around the church, the stereo sound being thrillingly produced by the strategic positioning of the instruments. The exhilarating Sanctus led to the haunting Agnus Dei with its very testing intonation challenges, all of which were safely negotiated by soloists and chorus alike. The playing of the wind section was especially beautiful here. And so to the final movement, Libera me, a very tricky fugue which was rendered perfectly and with excellent dynamic contrasts by the very impressive choir.
The soloists were Ruth Kerr (soprano), Thomasin Trezise (mezzo), Nicholas Ransley (tenor) and Timothy Dawkins (bass). The soprano sang effortlessly, soaring above both choir and orchestra, although one could have wished for more dramatic intensity in the final movement. The mezzo possessed a velvety tone which was a joy to listen to. The tenor's voice was pleasing if a little underpowered at times, and the bass had a sonorous, powerful delivery. All four brought out the operatic nature of the writing perfectly. The conductor Michael Stefan Wood produced a wonderful evening of music, his clear expressive direction bringing out the very best from the assembled forces, resulting in a performance which gave immense pleasure to the capacity audience.
Christine Colbourne, 26 April 2014
Burgess Hill Choral Society
Saturday April 26th 2014
The Requiem is Verdi's most dramatic work which, combined with the most glorious melodies, has led to it being labelled Verdi's finest opera! Certainly this work is where opera meets oratorio resulting in one of the best loved works in the choral repertoire.
A truly impressive force numbering around 140 performers took part in this memorable concert. Burgess Hill Choral Society was augmented by singers from Brighton Chamber and Brighton Orpheus Choirs and accompanied by Burgess Hill Concert Orchestra (leader Martin Palmer). Four soloists, all with glittering operatic CVs, completed the line-up.
The mood of drama and mystery was established straight away by the choir with well judged dynamics, sensitive phrasing, clear diction and secure intonation. The Dies Irae movement describes the Last Judgement and this is where all the forces came into their own. The terror and doom were brilliantly conveyed by the orchestra and choir at full throttle. One would have to concede victory to the orchestra in the loudest sections but the choir gave them a good run for their money! The large brass section was displayed to stunning effect as the last trumpet reverberated around the church, the stereo sound being thrillingly produced by the strategic positioning of the instruments. The exhilarating Sanctus led to the haunting Agnus Dei with its very testing intonation challenges, all of which were safely negotiated by soloists and chorus alike. The playing of the wind section was especially beautiful here. And so to the final movement, Libera me, a very tricky fugue which was rendered perfectly and with excellent dynamic contrasts by the very impressive choir.
The soloists were Ruth Kerr (soprano), Thomasin Trezise (mezzo), Nicholas Ransley (tenor) and Timothy Dawkins (bass). The soprano sang effortlessly, soaring above both choir and orchestra, although one could have wished for more dramatic intensity in the final movement. The mezzo possessed a velvety tone which was a joy to listen to. The tenor's voice was pleasing if a little underpowered at times, and the bass had a sonorous, powerful delivery. All four brought out the operatic nature of the writing perfectly. The conductor Michael Stefan Wood produced a wonderful evening of music, his clear expressive direction bringing out the very best from the assembled forces, resulting in a performance which gave immense pleasure to the capacity audience.
Christine Colbourne, 26 April 2014
An evening to capture the spirit of Christmas – 14 December 2013
A little girl captured the joyous spirit of Burgess Hill Choral Society's splendid Xmas concert. Too young to appreciate the deeper meaning of an all-encompassing programme, she none the less picked up on mood of the orchestra's thoroughly uplifting and superbly played Arrival of the Queen of Sheba and danced with delight in the aisle of St Andrew's Church. Her enchanting moment summed up what music at any level should be about: to move the spirit, invite you to dance, or inspire an emotion.
An on-form choir and orchestra and four strong soloists provided an engaging evening of carols, orchestral and choral music. Dvořák's challenging Mass in D major was handled confidently by the choir, and the closing moments of the Agnus Dei movement were especially impressive, helped by some confident tenor from Peter Kirk among the soloists. Soprano Natasha Day glided elegantly over the impressive platform set by choir and orchestra, while the rich voices of mezzo-soprano Rose Setten and bass-baritone Matthew Buswell infused depth and gravitas to seriously good music.
Miss Day's perfect tone also enriched the sacred atmosphere of Britten's De Deum in C, with her clear diction adding to the enjoyment of the piece.
The choir, and especially the women, never sounded better all evening to me than on the lighter but utterly charming O Little One Sweet, sounding like the previous carol, Angels from the Realms of Glory.
Rutter's Christmas Lullaby soothed, with the choir dovetailing smoothly with the soloists. Occasionally the timpani and brass threatened to temporarily overwhelm the choir, but conductor Mike Wood coaxed them through with humour and found time to "crank the members of the audience to their feet" for carols at the appropriate moments in an excellent musical appetiser for Christmas.
Phil Dennett, 14 December 2013
A little girl captured the joyous spirit of Burgess Hill Choral Society's splendid Xmas concert. Too young to appreciate the deeper meaning of an all-encompassing programme, she none the less picked up on mood of the orchestra's thoroughly uplifting and superbly played Arrival of the Queen of Sheba and danced with delight in the aisle of St Andrew's Church. Her enchanting moment summed up what music at any level should be about: to move the spirit, invite you to dance, or inspire an emotion.
An on-form choir and orchestra and four strong soloists provided an engaging evening of carols, orchestral and choral music. Dvořák's challenging Mass in D major was handled confidently by the choir, and the closing moments of the Agnus Dei movement were especially impressive, helped by some confident tenor from Peter Kirk among the soloists. Soprano Natasha Day glided elegantly over the impressive platform set by choir and orchestra, while the rich voices of mezzo-soprano Rose Setten and bass-baritone Matthew Buswell infused depth and gravitas to seriously good music.
Miss Day's perfect tone also enriched the sacred atmosphere of Britten's De Deum in C, with her clear diction adding to the enjoyment of the piece.
The choir, and especially the women, never sounded better all evening to me than on the lighter but utterly charming O Little One Sweet, sounding like the previous carol, Angels from the Realms of Glory.
Rutter's Christmas Lullaby soothed, with the choir dovetailing smoothly with the soloists. Occasionally the timpani and brass threatened to temporarily overwhelm the choir, but conductor Mike Wood coaxed them through with humour and found time to "crank the members of the audience to their feet" for carols at the appropriate moments in an excellent musical appetiser for Christmas.
Phil Dennett, 14 December 2013
An Innovative Evening with Burgess Hill Choral Society – 20th April 2013
Burgess Hill Choral Society mounted an unusual and innovative concert at St. Andrew's Church on 20th April. It included the world première of Alan Smith’s Requiem and a semi-staged performance of Purcell’s Dido and Aeneas. The evening opened with Elgar’s Serenade for Strings played with a warm, expressive and well balanced sound by the Burgess Hill Concert Orchestra under leader Richard Sutcliffe. Conductor Michael Wood coaxed an imaginative and musically shaped performance from the orchestra making effective use of subtle rubato and a wide dynamic range to create a stylish rendering of this much loved work.
Alan Smith’s Requiem was a really delightful piece very well written for the choir who clearly enjoyed performing it. The opening Requiem Aeternam had Rutter-like overtones with a most appealing melodic line making effective use of textural contrasts from unison to four-part harmony. Scored for strings and organ the balance was excellent throughout and how lovely it was to be able to hear the singing so clearly above the subtle accompaniment. Each movement had a different mood and I particularly enjoyed the syncopated rhythms and choral energy of the Sanctus and the lovely solo a cappella opening of the Pie Jesu, sung most beautifully by soprano Rachel Shouksmith. Here she was joined by a haunting cello solo before the choir and orchestra took up the theme. The Lux Aeterna did suffer from some intonation problems in the soprano section of the choir but overall the choir sang with great sensitivity and uniformity of purpose. Another magical moment was the return of the opening Requiem melody at the end of the Libera Me, an unexpected treat. So a most atmospheric and ethereal piece created in the traditions of Fauré and Duruflé by our talented local composer Alan Smith which should have immediate appeal to the many amateur choral societies across the country.
The semi-staged performance of Dido and Aeneas after the interval was a revelation and provided a riveting second half to the concert. Penny Jenkins not only staged the performance but also provided all the soloists! Her use of the limited space in St. Andrew's Church was most inventive, making use of the central aisle for entrances and exits with a small stage at the front for the main action. Congratulations to the front row of the choir who sang the whole opera from memory and played a full part in telling us the story with great dramatic intent. There were many highlights of this splendid performance and I particularly enjoyed the vibrant singing of Rachel Shouksmith again, this time as Belinda coupled with her consummate acting. Hilary Andrews and Andrés Hernández-Salazar made a most regal pairing as the ill-fated Dido and Aeneas, and Hilary’s interpretation of Dido’s lament was very poignant and heartrending. I also enjoyed Hannah Summers as the Sorceress conjuring up the storm from the pulpit aided and abetted by her two partners in crime Rachel Taylor and Laura Whitbread as the two witches and also by Kat Carson as the Spirit. Fiona Baines and Antonia Hyatt as the first and second women sang with great confidence and style and looked resplendent in their spotted frocks! Special mention to the fine continuo playing of Nick Milner‑Gulland (harpsichord) and Ethan Merrick (cello) backed by the excellent orchestra assembled by Maestro Wood. The chorus were well disciplined and committed throughout the performance. The echo chorus “In our deep vaulted cell” was particularly effective and the sailors’ chorus was imaginatively staged and sung with great energy led by Luke Churchill as the chief sailor. So a most entertaining and imaginative evening provided by our local choral society which goes from strength to strength under the consummate leadership of Mike Wood. I look forward to their Christmas concert on 14th December which will include performances of Dvořák’s Mass in D and Britten’s Te Deum in C in this, his centenary year.
Richard Haslam
Alan Smith’s Requiem was a really delightful piece very well written for the choir who clearly enjoyed performing it. The opening Requiem Aeternam had Rutter-like overtones with a most appealing melodic line making effective use of textural contrasts from unison to four-part harmony. Scored for strings and organ the balance was excellent throughout and how lovely it was to be able to hear the singing so clearly above the subtle accompaniment. Each movement had a different mood and I particularly enjoyed the syncopated rhythms and choral energy of the Sanctus and the lovely solo a cappella opening of the Pie Jesu, sung most beautifully by soprano Rachel Shouksmith. Here she was joined by a haunting cello solo before the choir and orchestra took up the theme. The Lux Aeterna did suffer from some intonation problems in the soprano section of the choir but overall the choir sang with great sensitivity and uniformity of purpose. Another magical moment was the return of the opening Requiem melody at the end of the Libera Me, an unexpected treat. So a most atmospheric and ethereal piece created in the traditions of Fauré and Duruflé by our talented local composer Alan Smith which should have immediate appeal to the many amateur choral societies across the country.
The semi-staged performance of Dido and Aeneas after the interval was a revelation and provided a riveting second half to the concert. Penny Jenkins not only staged the performance but also provided all the soloists! Her use of the limited space in St. Andrew's Church was most inventive, making use of the central aisle for entrances and exits with a small stage at the front for the main action. Congratulations to the front row of the choir who sang the whole opera from memory and played a full part in telling us the story with great dramatic intent. There were many highlights of this splendid performance and I particularly enjoyed the vibrant singing of Rachel Shouksmith again, this time as Belinda coupled with her consummate acting. Hilary Andrews and Andrés Hernández-Salazar made a most regal pairing as the ill-fated Dido and Aeneas, and Hilary’s interpretation of Dido’s lament was very poignant and heartrending. I also enjoyed Hannah Summers as the Sorceress conjuring up the storm from the pulpit aided and abetted by her two partners in crime Rachel Taylor and Laura Whitbread as the two witches and also by Kat Carson as the Spirit. Fiona Baines and Antonia Hyatt as the first and second women sang with great confidence and style and looked resplendent in their spotted frocks! Special mention to the fine continuo playing of Nick Milner‑Gulland (harpsichord) and Ethan Merrick (cello) backed by the excellent orchestra assembled by Maestro Wood. The chorus were well disciplined and committed throughout the performance. The echo chorus “In our deep vaulted cell” was particularly effective and the sailors’ chorus was imaginatively staged and sung with great energy led by Luke Churchill as the chief sailor. So a most entertaining and imaginative evening provided by our local choral society which goes from strength to strength under the consummate leadership of Mike Wood. I look forward to their Christmas concert on 14th December which will include performances of Dvořák’s Mass in D and Britten’s Te Deum in C in this, his centenary year.
Richard Haslam
A Joyful Evening with Burgess Hill Choral Society – 15th December 2012
Burgess Hill Choral Society gave their annual Christmas concert on Saturday 15th December in St. Andrew's Church. The guest soprano Katherine Crompton opened the proceedings with an atmospheric rendition of the opening verse of “Once in Royal” which set the mood nicely for the evening. The Choir were on good form throughout the concert and sang with verve and energy making a well balanced and warm sound. Clearly well trained by their talented and dedicated Musical Director, Michael Wood, their singing was well disciplined and rhythmical showing pleasing attention to details of phrasing and dynamics and generally clear words, especially when heads came out of copies! I particularly enjoyed a cappella carols “Adam Lay Ybounden” and “Quem Pastores” which the Choir sang with great confidence and held the pitch securely throughout. How about learning one carol from memory next year? Now there’s a challenge! The orchestral highlight of the first half was the performance of Bach’s Brandenburg Concerto no. 2 with soloists Andrew Baxter (trumpet), Douglas Brion (recorder), Richard Sutcliffe (violin), and Claire Worth (oboe). A fine quartet they made too and played with great exuberance and rhythmic drive in the outer movements and a sense of poetry in the slower second movement, ably accompanied by the Burgess Hill Concert Orchestra. The first half ended with Bach’s Cantata BWV214 which turned out to be familiar at times as Bach had later re-used a number of tunes in the Christmas Oratorio! The performance was greatly lifted by four fine soloists, soprano Katherine Crompton, mezzo-soprano Emilie Renard, tenor Simon Gilkes and bass-baritone Morgan Pearse.
After warming mulled wine and mince pies the Choir opened the second half with the “Shepherds’ Cradle Song” which was atmospheric in the church acoustic if occasionally losing pitch a little at the top. Following on from the shepherds theme we were treated to an unusual version of “While Shepherds Watched” by Yorkshire composer John Foster which the choir sang with great energy and enthusiasm. Cleverly, Mr. Wood had saved the best till last and the evening concluded with a performance of Handel’s Dettingen Te Deum composed to celebrate George II’s victory at the Battle of Dettingen in 1743. Choir, orchestra and soloists combined superbly under the consummate direction of Mike Wood to make a very joyful sound. There was some excellent rhythmic attack from the Choir in the opening “We praise thee, O God” and if some of the musical climaxes were a little underpowered they certainly captured the feeling of joy and celebration in the music. The four soloists again sang beautifully, and a special mention for Morgan Pearse who sang with great authority and communication and is certainly a young singer to watch! Much of the music was reminiscent of “Messiah”, written the previous year, and none the worse for that. Some fine playing too here from the Orchestra and the oboes and trumpets were much to the fore, creating a sense of excitement and anticipation throughout the work. So another varied and entertaining evening provided by the Burgess Hill Choral Society so ably led by conductor Michael Wood in his 26th year with them. I look forward to the Society’s Spring Concert on 20th April 2013 which will feature Purcell’s “Dido and Aeneas” and the world première of Alan Smith’s “Requiem”, an evening not to be missed!
After warming mulled wine and mince pies the Choir opened the second half with the “Shepherds’ Cradle Song” which was atmospheric in the church acoustic if occasionally losing pitch a little at the top. Following on from the shepherds theme we were treated to an unusual version of “While Shepherds Watched” by Yorkshire composer John Foster which the choir sang with great energy and enthusiasm. Cleverly, Mr. Wood had saved the best till last and the evening concluded with a performance of Handel’s Dettingen Te Deum composed to celebrate George II’s victory at the Battle of Dettingen in 1743. Choir, orchestra and soloists combined superbly under the consummate direction of Mike Wood to make a very joyful sound. There was some excellent rhythmic attack from the Choir in the opening “We praise thee, O God” and if some of the musical climaxes were a little underpowered they certainly captured the feeling of joy and celebration in the music. The four soloists again sang beautifully, and a special mention for Morgan Pearse who sang with great authority and communication and is certainly a young singer to watch! Much of the music was reminiscent of “Messiah”, written the previous year, and none the worse for that. Some fine playing too here from the Orchestra and the oboes and trumpets were much to the fore, creating a sense of excitement and anticipation throughout the work. So another varied and entertaining evening provided by the Burgess Hill Choral Society so ably led by conductor Michael Wood in his 26th year with them. I look forward to the Society’s Spring Concert on 20th April 2013 which will feature Purcell’s “Dido and Aeneas” and the world première of Alan Smith’s “Requiem”, an evening not to be missed!
Richard Haslam – Mid Sussex Times, December 2012
Conductor Mike Wood's 30th anniversary concert with Burgess Hill Symphony Orchestra and
25th anniversary with Burgess Hill Choral Society, 12th May 2012 at St Andrews Church, Burgess Hill
Emotions ran high as Mike Wood celebrated 30 years of conducting the Burgess Hill Symphony Orchestra in style.
Beethoven’s towering 9th Symphony and his demanding Violin Concerto have taxed some of the world’s greatest professional musicians. Yet the part-time orchestra and choir showed enough consistency and quality to ensure the occasion was indeed an ode to the joy of music making.
The combination of orchestra, the Burgess Hill Choral Society that Mr Wood has led for 25 years, and the superb quartet of soloists produced a performance that reflected the rich, complex textures and sheer humanity of the 9th Symphony. Bold as brass chords at the opening were a declaration of confident intent, yet elegant whispers from woodwind and strings amidst the power chords showed a sensitivity to the nuances of the piece. With the basses and cellos showing respectful gravitas, then later hinting gently at the famous melody, the stage was well set for the soloists and choir to soar with elegant energy into the magnificence of the finale.
Throughout, Mr Wood, whose son Tom was playing percussion, eased the musicians along with his infectious enthusiasm, nudging them gently to maintain momentum at crucial moments; for example the gorgeous slow movement of the 9th. Impeccable performances by soprano Katie Lowe, mezzo-soprano Rosie Aldridge, tenor Andrew Dickinson and bass-baritone James Platt, in unison and in their own parts, perfectly encapsulated the path from despair to delight.
An affectionate bear-hug from Mr Wood for usual leader Andrew Biggs after the hugely taxing violin concerto said everything about his unexpected and creditable performance. Standing in for the vastly experienced but indisposed Frances Mason, Mr Biggs had three weeks to re-learn a piece he last played in 1993, and waves of generous applause let him know the huge effort had been worth it. Mr Biggs had revealed a sweet tone, occasionally letting fly with a dramatic edge of controlled attack. The sombre Russian-flavoured opening gave way to driving strings, with the woodwinds slipped elegantly into their space after the first violin solo.
Mr Biggs at times made the larghetto glow with lyricism in contrast to the taut urgency of some passages. His performance was worthy of the dedication by Mr Wood of the piece to the late Cynthia Marney, an orchestra member for 33 years, who died recently.
The heroic-tragic textures of the opening Coriolan (Coriolanus) Overture were encapsulated well, with some nimble string playing infusing both martial energy and imploring melody before bassoons and cellos diffused the drama into a gentle finish that beautifully set the stage for the main pieces.
It was an evening that captured the essence of Beethoven’s genius and reflected the positive influence of Mr Wood’s remarkable tenure.
Beethoven’s towering 9th Symphony and his demanding Violin Concerto have taxed some of the world’s greatest professional musicians. Yet the part-time orchestra and choir showed enough consistency and quality to ensure the occasion was indeed an ode to the joy of music making.
The combination of orchestra, the Burgess Hill Choral Society that Mr Wood has led for 25 years, and the superb quartet of soloists produced a performance that reflected the rich, complex textures and sheer humanity of the 9th Symphony. Bold as brass chords at the opening were a declaration of confident intent, yet elegant whispers from woodwind and strings amidst the power chords showed a sensitivity to the nuances of the piece. With the basses and cellos showing respectful gravitas, then later hinting gently at the famous melody, the stage was well set for the soloists and choir to soar with elegant energy into the magnificence of the finale.
Throughout, Mr Wood, whose son Tom was playing percussion, eased the musicians along with his infectious enthusiasm, nudging them gently to maintain momentum at crucial moments; for example the gorgeous slow movement of the 9th. Impeccable performances by soprano Katie Lowe, mezzo-soprano Rosie Aldridge, tenor Andrew Dickinson and bass-baritone James Platt, in unison and in their own parts, perfectly encapsulated the path from despair to delight.
An affectionate bear-hug from Mr Wood for usual leader Andrew Biggs after the hugely taxing violin concerto said everything about his unexpected and creditable performance. Standing in for the vastly experienced but indisposed Frances Mason, Mr Biggs had three weeks to re-learn a piece he last played in 1993, and waves of generous applause let him know the huge effort had been worth it. Mr Biggs had revealed a sweet tone, occasionally letting fly with a dramatic edge of controlled attack. The sombre Russian-flavoured opening gave way to driving strings, with the woodwinds slipped elegantly into their space after the first violin solo.
Mr Biggs at times made the larghetto glow with lyricism in contrast to the taut urgency of some passages. His performance was worthy of the dedication by Mr Wood of the piece to the late Cynthia Marney, an orchestra member for 33 years, who died recently.
The heroic-tragic textures of the opening Coriolan (Coriolanus) Overture were encapsulated well, with some nimble string playing infusing both martial energy and imploring melody before bassoons and cellos diffused the drama into a gentle finish that beautifully set the stage for the main pieces.
It was an evening that captured the essence of Beethoven’s genius and reflected the positive influence of Mr Wood’s remarkable tenure.
(Phil Dennett, Mid-Sussex Times, 14 May 2012. Photo of Mike Wood above also by Phil Dennett)
An evening of delight on the Queen's birthday – 21st April 2012
On the Queen’s birthday, April 21st, the Burgess Hill Choral Society gave an evening of utter delight to a large and appreciative audience in St Andrew’s Church. The programme, consisting of lollipops by Mozart and Handel, was devised and conducted by the Director, Michael Stefan Wood, resplendent with huge crimson rose and musical cummerbund, and encouraging his forces with smiles and eyebrows. The citizens of Burgess Hill are lucky indeed to be able to enjoy music of high quality from a musician of so much talent and energy in their midst. They are also lucky in St Andrew’s Church, which provides a fine big space for performance, with a clear acoustic, good sightlines – and loos! – though the pews were unforgiving.
The choir, which is celebrating the 25th anniversary of its Musical Director, in this year of celebrations, was on great form; they had obviously been well drilled and sang with confidence and accuracy, whether in the expressive serenity of Mozart’s Ave Verum, in the breakneck semiquavers of ‘God Save the King!’, in the magisterial grandeur of ‘The King shall Rejoice’, or in the austere fugues of Mozart’s baroque vein in the Vespers.
The excellent soloists, Katherine Nicholas, Hilary Andrews, Richard Newman and Michael Bunting, blended superbly and sang with sensitivity and restraint; Miss Nicholas was particularly memorable in Mozart’s thrilling Magnificat. All four are pupils of Penny Jenkins, who sat in the second row beaming with understandable pleasure and pride.
The orchestra (unfortunately not listed in the programme) came into its own with a fine performance of Mozart’s Symphony No. 40 in G minor. Schumann, strangely for such a passionate composer, claimed to see nothing but ‘lightness, grace and charm’ in this symphony; but it is seen by most to be a work of passion and intensity, and these were the qualities which the conductor elicited. A better balance might have been achieved with a few more violins and with hard sticks for the timpani, but this is a minor criticism.
Congratulations to Mike Wood and his choir, and best wishes for the mountain which, with the Burgess Hill Symphony Orchestra, they plan to climb on May 12th – Beethoven’s ninth, no less. Book now!
The choir, which is celebrating the 25th anniversary of its Musical Director, in this year of celebrations, was on great form; they had obviously been well drilled and sang with confidence and accuracy, whether in the expressive serenity of Mozart’s Ave Verum, in the breakneck semiquavers of ‘God Save the King!’, in the magisterial grandeur of ‘The King shall Rejoice’, or in the austere fugues of Mozart’s baroque vein in the Vespers.
The excellent soloists, Katherine Nicholas, Hilary Andrews, Richard Newman and Michael Bunting, blended superbly and sang with sensitivity and restraint; Miss Nicholas was particularly memorable in Mozart’s thrilling Magnificat. All four are pupils of Penny Jenkins, who sat in the second row beaming with understandable pleasure and pride.
The orchestra (unfortunately not listed in the programme) came into its own with a fine performance of Mozart’s Symphony No. 40 in G minor. Schumann, strangely for such a passionate composer, claimed to see nothing but ‘lightness, grace and charm’ in this symphony; but it is seen by most to be a work of passion and intensity, and these were the qualities which the conductor elicited. A better balance might have been achieved with a few more violins and with hard sticks for the timpani, but this is a minor criticism.
Congratulations to Mike Wood and his choir, and best wishes for the mountain which, with the Burgess Hill Symphony Orchestra, they plan to climb on May 12th – Beethoven’s ninth, no less. Book now!
(Nick Milner-Gulland – Mid-Sussex Times, 26th April 2012)