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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 |
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Joseph Haydn (1732–1809)
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Karl Jenkins (b. 1944)
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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 |
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 December 2014
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 December 2014
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
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
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
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 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 December 2013
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!
- 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.
(Phil Dennett, Mid-Sussex Times, 14 May 2012. Photo of Mike Wood above also by Phil Dennett)
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!
(Nick Milner-Gulland – Mid-Sussex Times, 26th April 2012)
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)
A superb show full of seasonal spirit
Burgess Hill Choral Society were relieved to see a lack of snow and a full house at St Andrew’s Church for their Christmas Concert this year! After the trials of last winter there was a real feeling of achievement and a great sense of joy throughout the evening.
The guest soprano Jaime Jo Hallam 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, Mike Wood, their singing was well disciplined and rhythmical, showing pleasing attention to details of phrasing and dynamics and generally clear words. I particularly enjoyed the four of Brahms ‘Marienlieder’ with which they concluded the first half of the concert. My only quibble in the first half was the under-use of the splendid Burgess Hill Concert Orchestra.
After warming mulled wine and mince pies the audience really enjoyed the witty setting of ‘12 Days of Christmas’ by John Rutter and the theatrical delivery of the text by Rebecca Dowden was thoroughly entertaining. Cleverly, Mr Wood had saved the best till last and the evening concluded with a performance of Rutter’s ‘Magnificat’. The Gloria brought the evening to an exhilarating close and left us all very much in the Christmas spirit.
The guest soprano Jaime Jo Hallam 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, Mike Wood, their singing was well disciplined and rhythmical, showing pleasing attention to details of phrasing and dynamics and generally clear words. I particularly enjoyed the four of Brahms ‘Marienlieder’ with which they concluded the first half of the concert. My only quibble in the first half was the under-use of the splendid Burgess Hill Concert Orchestra.
After warming mulled wine and mince pies the audience really enjoyed the witty setting of ‘12 Days of Christmas’ by John Rutter and the theatrical delivery of the text by Rebecca Dowden was thoroughly entertaining. Cleverly, Mr Wood had saved the best till last and the evening concluded with a performance of Rutter’s ‘Magnificat’. The Gloria brought the evening to an exhilarating close and left us all very much in the Christmas spirit.
(Richard Haslam – Mid Sussex Times, December 2011)
Rivals' requiems stand well together
Mozart and Salieri were contemporary composers in Vienna during the late 18th century. So much has been written about the relationship between these composers that it is difficult to distinguish between fact or fiction. However, on April 2, Burgess Hill Choral Society provided a large audience with an opportunity to hear Requiem Masses created by both composers. The Mozart Requiem is well known, as is the controversy surrounding its completion. The Salieri Requiem by comparison is rarely performed and therefore it was interesting to hear both works in the same programme. On this occasion, both works were well served by the chorus, soloists, orchestra and the confident and clear direction of conductor Michael Stefan Wood.
The Salieri Requiem opened with secure singing from the chorus, combined with the effective support of the orchestra to create the impression of dark solemnity. As the work progressed, the quartet of soloists made a well-integrated contribution to provide the necessary contrast to the full sound from the chorus. As a whole, Salieri's work appeared to be rather fragmented and did not always seem to provide an adequate response to the Latin text for the Mass. However, the chorus gave a committed performance of the work, tackling the testing high chorus lines with confidence. The final 'Libera Me' was the most impressive movement in the whole work. Here Salieri used a brass accompaniment to support the chorus to create sounds reminiscent of Monteverdi. As a Venetian, it would seem that Salieri was most inspired when he was incorporating elements of the Venetian musical traditions within his own composition.
The Mozart Requiem is a popular favourite with all British choral societies. A great deal has been written about Mozart's inability to finish his work and how it was finally completed by his pupil, Franz Sussmayr. What exists is a remarkable melodic work for chorus, orchestra and soloists but where its apparent simplicity belies the difficulties it presents to the performers. On this occasion the chorus gave an impressive account of the work marred only by the occasional insecure start to some sections. The soprano section provided confident entries in the fugal sections whilst displaying an impressive ability to sustain the long high phrases in many sections. The male section of the choir, although small in number, was able to mark the fugal entries clearly and to add weight to some sections by doubling the forces of tenors and basses. Overall the chorus coped well with the fast tempo of the 'Dies Irae' and should be congratulated for its sensitive singing of the 'Hostias' where all the dynamic markings were observed faithfully. The four soloists were very well matched for this work and made an impressive and secure contribution to the requiem. The voices of Soprano Katie Lowe and Mezzo Soprano Kitty Whately projected clearly into the sometimes difficult acoustic of St Andrew's Church. The Tenor, Andrew Dickinson, made a secure and well focused contribution to his solos and ensemble work. The Bass, James Platt, was highly impressive in his opening of the 'Tuba Mirum' where his ample but well focused voice coped magnificently with the difficult intervals he had to encompass in the opening section. It is very rewarding and reassuring to find such talented young singers using their voices so sensitively and musically at the start of their professional careers. The Requiem ended with the chorus attacking the final fugal entries confidently and bringing the work to an impressive close in the final adagio. This drew a deservedly full and appreciative applause from the large audience.
As ever, Michael Stefan Wood should be praised for the firm and clear direction he offered his forces. He was able to inspire his orchestra to confidently attack the fast speed he set for the 'Dies Irae' and to produce some beautifully posed phrases in the 'Lacrimosa'. Future audiences will be able to hear the Burgess Hill Choral Society again on 10th December when the programme will include John Rutter's 'Magnificat'.
The Salieri Requiem opened with secure singing from the chorus, combined with the effective support of the orchestra to create the impression of dark solemnity. As the work progressed, the quartet of soloists made a well-integrated contribution to provide the necessary contrast to the full sound from the chorus. As a whole, Salieri's work appeared to be rather fragmented and did not always seem to provide an adequate response to the Latin text for the Mass. However, the chorus gave a committed performance of the work, tackling the testing high chorus lines with confidence. The final 'Libera Me' was the most impressive movement in the whole work. Here Salieri used a brass accompaniment to support the chorus to create sounds reminiscent of Monteverdi. As a Venetian, it would seem that Salieri was most inspired when he was incorporating elements of the Venetian musical traditions within his own composition.
The Mozart Requiem is a popular favourite with all British choral societies. A great deal has been written about Mozart's inability to finish his work and how it was finally completed by his pupil, Franz Sussmayr. What exists is a remarkable melodic work for chorus, orchestra and soloists but where its apparent simplicity belies the difficulties it presents to the performers. On this occasion the chorus gave an impressive account of the work marred only by the occasional insecure start to some sections. The soprano section provided confident entries in the fugal sections whilst displaying an impressive ability to sustain the long high phrases in many sections. The male section of the choir, although small in number, was able to mark the fugal entries clearly and to add weight to some sections by doubling the forces of tenors and basses. Overall the chorus coped well with the fast tempo of the 'Dies Irae' and should be congratulated for its sensitive singing of the 'Hostias' where all the dynamic markings were observed faithfully. The four soloists were very well matched for this work and made an impressive and secure contribution to the requiem. The voices of Soprano Katie Lowe and Mezzo Soprano Kitty Whately projected clearly into the sometimes difficult acoustic of St Andrew's Church. The Tenor, Andrew Dickinson, made a secure and well focused contribution to his solos and ensemble work. The Bass, James Platt, was highly impressive in his opening of the 'Tuba Mirum' where his ample but well focused voice coped magnificently with the difficult intervals he had to encompass in the opening section. It is very rewarding and reassuring to find such talented young singers using their voices so sensitively and musically at the start of their professional careers. The Requiem ended with the chorus attacking the final fugal entries confidently and bringing the work to an impressive close in the final adagio. This drew a deservedly full and appreciative applause from the large audience.
As ever, Michael Stefan Wood should be praised for the firm and clear direction he offered his forces. He was able to inspire his orchestra to confidently attack the fast speed he set for the 'Dies Irae' and to produce some beautifully posed phrases in the 'Lacrimosa'. Future audiences will be able to hear the Burgess Hill Choral Society again on 10th December when the programme will include John Rutter's 'Magnificat'.
(Vivian Nicholas – Mid Sussex Times, 21st April 2011)
Choir hits the right notes
The snow of last month meant that the Christmas concert of Burgess Hill Choral Society had to be put on ice until last Saturday night, but throughout the re-arranged concert the singers certainly warmed to their task at St Andrew's Church, giving one of their most consistent performances. There was a bonus for the near-capacity audience in the way of a Handel instrumental piece instead of singing carols. In the event the Handel Concerto Grosso proved a lively sorbet to refresh the musical palate between two more emotionally demanding pieces.
The choir launched into the Kyrie of Scarlatti's St Cecilia Mass with plenty of attack and confidence that rarely faded throughout the evening. Showing an admirable and accurate reach for the high notes from the women, the choir brought to life the mourning and yearning hopes of Scarlatti's score, while the men gave the piece as much contrast as they could muster from their limited numbers. The various demands on the five soloists made for plenty of entrances and exits, and they gave capable performances. The youngest of them, delightful soprano Katharine Carson, a Brighton Festival Youth Chorus singer, displayed a sweet tone, grace and promise. Maturity should bring her more controlled power and colour.
After the choir's strong opening we were treated during the rest of the Mass to some delightful inter-play between nimble soprano Katherine Nicholas, smooth mezzo soprano Hilary Andrews, and fluent tenor Richard Newman. The gravitas provided by bass Michael Bunting provided a superb contrast to the uplifting beautiful waves of soaring pleas to heaven from the choir throughout, and Miss Andrews showed good range and power in her longer sustained solo work. Miss Nicholas was at her most powerful, both emotionally and in volume, in the Stabat Mater's Cujus Animam, while Miss Andrews and Miss Carson dovetailed delicately with great success on the Sancta Mater.
The orchestra, which was in fine form all evening, provided a superb platform for the choir to later excel itself with deftly controlled energy on the Inflammatus before melting into a gently lapping and moving Quando Corpus that perfectly encapsulated the aching plea for the soul to enter paradise. Paradise can keep a while, but this concert certainly proved well worth waiting for.
The choir launched into the Kyrie of Scarlatti's St Cecilia Mass with plenty of attack and confidence that rarely faded throughout the evening. Showing an admirable and accurate reach for the high notes from the women, the choir brought to life the mourning and yearning hopes of Scarlatti's score, while the men gave the piece as much contrast as they could muster from their limited numbers. The various demands on the five soloists made for plenty of entrances and exits, and they gave capable performances. The youngest of them, delightful soprano Katharine Carson, a Brighton Festival Youth Chorus singer, displayed a sweet tone, grace and promise. Maturity should bring her more controlled power and colour.
After the choir's strong opening we were treated during the rest of the Mass to some delightful inter-play between nimble soprano Katherine Nicholas, smooth mezzo soprano Hilary Andrews, and fluent tenor Richard Newman. The gravitas provided by bass Michael Bunting provided a superb contrast to the uplifting beautiful waves of soaring pleas to heaven from the choir throughout, and Miss Andrews showed good range and power in her longer sustained solo work. Miss Nicholas was at her most powerful, both emotionally and in volume, in the Stabat Mater's Cujus Animam, while Miss Andrews and Miss Carson dovetailed delicately with great success on the Sancta Mater.
The orchestra, which was in fine form all evening, provided a superb platform for the choir to later excel itself with deftly controlled energy on the Inflammatus before melting into a gently lapping and moving Quando Corpus that perfectly encapsulated the aching plea for the soul to enter paradise. Paradise can keep a while, but this concert certainly proved well worth waiting for.
(Phil Dennett – Mid Sussex Times, 27th January 2011)
Choral Society scores another success
If only everyone involved in the choral and classical music world had the "unstuffy" yet intelligent approach of conductor Mike Wood we might see a younger generation of audiences coming through. Choral and orchestral concerts at St Andrew's Church in Burgess Hill are well supported and one reason for this is that Mr Wood, who conducts both, does not let the amateur status of the choral society or the town's symphony orchestra inhibit his enthusiasm for tackling challenging pieces and setting high standards.
It is well known that audiences at classical concerts are dominated by older people, and Saturday's excellent concert was no exception. Sitting in the packed audience I wondered briefly where the next generation of both singers and audience might come from. But since the choral society in its modern form has survived and at times thrived since 1946 (there was one in 1892) I might be worrying unduly.
For this internationally flavoured concert the choral society dispensed with programme notes on the operatic choruses it performed so beautifully throughout a concert that maintained consistently high standards throughout from the choir, musicians, and soloists Rhian Lois, Tyler Clarke and Edward Grint. Which is where Mr Wood's fathomless ocean of enthusiasm for spreading his consuming love of music came in. Mr Wood briefly told the stories behind the choruses in a down-to-earth and witty approach while remembering he was not addressing the pupils he inspires so much at Oakmeeds Commuinity College. This added a lighter touch as the choir soundly met the technical challenges of Bizet, Wagner, Tchaikovsky, Purcell, and Verdi in what must have been one of their most generally accomplished performances.
The choir's finest moment was the complex and dramatic Gloria from the impressively performed Messa di Gloria, where singers and musicians captured the fire, optimism, and great beauty that flowed from the quill of a 21-year-old Puccini when he wrote it. The orchestra produced such power at times, with some punchy brass and creamy cello and basses, that the choir had to be at its strongest vocally to achieve balance. The talented and highly promising young soprano Rhian Lois had no such challenges – she merely eased her foot on the vocal power pedal to restore the balance while keeping the wonderful clarity and tone she showed throughout.
It is well known that audiences at classical concerts are dominated by older people, and Saturday's excellent concert was no exception. Sitting in the packed audience I wondered briefly where the next generation of both singers and audience might come from. But since the choral society in its modern form has survived and at times thrived since 1946 (there was one in 1892) I might be worrying unduly.
For this internationally flavoured concert the choral society dispensed with programme notes on the operatic choruses it performed so beautifully throughout a concert that maintained consistently high standards throughout from the choir, musicians, and soloists Rhian Lois, Tyler Clarke and Edward Grint. Which is where Mr Wood's fathomless ocean of enthusiasm for spreading his consuming love of music came in. Mr Wood briefly told the stories behind the choruses in a down-to-earth and witty approach while remembering he was not addressing the pupils he inspires so much at Oakmeeds Commuinity College. This added a lighter touch as the choir soundly met the technical challenges of Bizet, Wagner, Tchaikovsky, Purcell, and Verdi in what must have been one of their most generally accomplished performances.
The choir's finest moment was the complex and dramatic Gloria from the impressively performed Messa di Gloria, where singers and musicians captured the fire, optimism, and great beauty that flowed from the quill of a 21-year-old Puccini when he wrote it. The orchestra produced such power at times, with some punchy brass and creamy cello and basses, that the choir had to be at its strongest vocally to achieve balance. The talented and highly promising young soprano Rhian Lois had no such challenges – she merely eased her foot on the vocal power pedal to restore the balance while keeping the wonderful clarity and tone she showed throughout.
(Phil Dennett – Mid Sussex Times, 29th April 2010)
Society shine in Christmas concert
A large appreciative audience filled St Andrew's Church for the Burgess Hill Choral Society's Christmas Concert on 12th December. The varied programme contained works by Haydn and Mendelssohn as well as the first complete performance of a new work by local composer, Alan Smith. The choir was joined by the audience at key points in the programme for the singing of traditional carols led in an inimitable manner by the conductor, Mr Michael Stefan Wood. The soloist, Natasha Day, used her impressive soprano voice most effectively in Mendelssohn's 'Hear My Prayer' and made a very sensitive contribution to the solo sections of 'The Infant King'. This was a voice that could project easily over the choir and orchestra whilst ensuring that pianissimo sections were aided by excellent diction and delicate phrasing.
The Choir had an extensive programme to perform requiring a range of singing styles demanded by the different compositions. Haydn's Missa Brevis (Little Organ Mass) opened the concert but the Choir's entries often seemed insecure both in attack and intonation. However for the remainder of the concert, the major works were performed well by the Choir especially the Mendelssohn where the sensitive choral singing established an effective balance with the solo soprano voice,
The main work in the concert was 'The Infant King' composed by Alan Smith using texts created by local author and poet Kevin Carey. The eleven sections of the work used Biblical references to describe the Christmas story. Alan Smith made skilful use of solo, choral and orchestral composition to convey the meaning and the emotions of the writing in each section. In some sections the music had similarities to the work of John Rutter but most parts of the work reflected the distinctive styles of this gifted local composer. Members of the choir performed this work impressively, coping with changing metres, rhythms and syncopated accents confidently. Unaccompanied singing was at times challenged by the difficult harmonies created by the composer but the Choir was at its confident best in the final section of the work. Once again Natasha Day's singing provided sensitive contemplative moments in this work, proving to be secure in intonation and able deliver the texts expressively. The orchestra, which had made a reliable and effective contribution throughout the evening under its leader Andrew Biggs, was able to create the dramatic impact required in certain sections of this new work.
The conductor Michael Stefan Wood should be congratulated for supporting the work of local composers through including their works in the Burgess Hill Choral Society's concerts. He is a gifted conductor, willing to encourage his performers to tackle works that are not normally found in the choral and orchestral repertoire. Music lovers should note that Burgess Hill Choral Society's next concert on the 24th April 2010 will include Puccini's 'Messa di Gloria'.
The Choir had an extensive programme to perform requiring a range of singing styles demanded by the different compositions. Haydn's Missa Brevis (Little Organ Mass) opened the concert but the Choir's entries often seemed insecure both in attack and intonation. However for the remainder of the concert, the major works were performed well by the Choir especially the Mendelssohn where the sensitive choral singing established an effective balance with the solo soprano voice,
The main work in the concert was 'The Infant King' composed by Alan Smith using texts created by local author and poet Kevin Carey. The eleven sections of the work used Biblical references to describe the Christmas story. Alan Smith made skilful use of solo, choral and orchestral composition to convey the meaning and the emotions of the writing in each section. In some sections the music had similarities to the work of John Rutter but most parts of the work reflected the distinctive styles of this gifted local composer. Members of the choir performed this work impressively, coping with changing metres, rhythms and syncopated accents confidently. Unaccompanied singing was at times challenged by the difficult harmonies created by the composer but the Choir was at its confident best in the final section of the work. Once again Natasha Day's singing provided sensitive contemplative moments in this work, proving to be secure in intonation and able deliver the texts expressively. The orchestra, which had made a reliable and effective contribution throughout the evening under its leader Andrew Biggs, was able to create the dramatic impact required in certain sections of this new work.
The conductor Michael Stefan Wood should be congratulated for supporting the work of local composers through including their works in the Burgess Hill Choral Society's concerts. He is a gifted conductor, willing to encourage his performers to tackle works that are not normally found in the choral and orchestral repertoire. Music lovers should note that Burgess Hill Choral Society's next concert on the 24th April 2010 will include Puccini's 'Messa di Gloria'.
(Vivian Nicholas – Mid Sussex Times, 17th December 2009)
Evocative Stabat Mater
Burgess Hill Choral Society chose an imaginitive programme for their Spring Concert this year with two contrasting settings of Stabat Mater. The first half saw a performance of Dvořák's expressive setting followed by the new setting by Karl Jenkins. Under the experienced baton of conductor Michael Stefan Wood the Society rose to the challenge of these two demanding pieces. There was an atmospheric opening to the Dvořák provided by the Burgess Hill Concert Orchestra (leader Andrew Biggs) and a warm wash of blended choral sound created the soulful and sorrowful mood. A quartet of fine soloists from the Royal Academy of Music gave a polished and professional performance. The Tenor Peter Davoren sang with exciting dramatic intention and a clear, resonant tone and the Soprano Amy Radford delivered real emotional impact and power. The Choir had to work hard throughout the piece with barely a moment to rest and I particularly enjoyed the lilting "Virgo Virginum" which was musically shaped with imaginitive use of dynamic colour to build to the musical climaxes. There was some lovely singing from the solo quartet here with the addition of Contralto Kate Symonds-Joy and the fine Bass George Humphreys who sang so superbly in last season's performance of Mendelssohn's St Paul. The final Amen Chorus was well drilled by Mr Wood bringing the first half to an exciting conclusion.
After a refreshing glass of wine we were treated to an exciting and atmospheric performance of the Karl Jenkins Stabat Mater. The opening was rhythmic and persuasive with good ensemble singing and effective energy and clarity. The resonant church acoustic adds a bloom to the sound but sometimes to the cost of definition and edge, but the Choir worked hard to overcome this problem. It also tends to enhance the orchestral sound and there were times when the Choir was a little overwhelmed by the accompaniment particularly in passages where the tessitura was low on the voices. The piece is scored for just alto solo and whilst it was sad not to hear the other singers again the performance of Kate Symonds-Joy was outstanding. Singing from the pulpit she called us all to prayer like a Muezzin with an Arabic Incantation. It was really mesmeric, so much so that the Choir's next entry was rather uncertain and the "Vidit Jesum in tormentis" took some while to establish rhythmic precision and confidence. The lament was beautifully sung by the alto soloist with a warm, expressive legato and imaginative phrasing. The "Sancta Mater" which followed was dramatic and exciting with powerful playing from the brass section and the Choir clearly enjoying their singing and involvement in the musical drama. One of the highlights for me was the evocative cor anglais playing that ran like a thread through the performance and really created an evocative mood particularly when duetting with the soloist. I also enjoyed the pizzicato strings and tambourine accompanying the "Virgo Virginum" movement. The setting of the "Ave Verum" was most appealing with an effective blend of convincing musical shaping. The singing in the penultimate movement was a little uncertain and the pitching became rather flat here but the Choir recovered to give us a hypnotic finale as we ascended into Paradise.
So congratulations to the Burgess Hill Choral Society on yet another splendid concert much enjoyed by a near-capacity audience on a beautiful early summer's evening. Next time we hear them we will be busy wrapping our Christmas presents as they perform "The Infant King" on 12th December.
After a refreshing glass of wine we were treated to an exciting and atmospheric performance of the Karl Jenkins Stabat Mater. The opening was rhythmic and persuasive with good ensemble singing and effective energy and clarity. The resonant church acoustic adds a bloom to the sound but sometimes to the cost of definition and edge, but the Choir worked hard to overcome this problem. It also tends to enhance the orchestral sound and there were times when the Choir was a little overwhelmed by the accompaniment particularly in passages where the tessitura was low on the voices. The piece is scored for just alto solo and whilst it was sad not to hear the other singers again the performance of Kate Symonds-Joy was outstanding. Singing from the pulpit she called us all to prayer like a Muezzin with an Arabic Incantation. It was really mesmeric, so much so that the Choir's next entry was rather uncertain and the "Vidit Jesum in tormentis" took some while to establish rhythmic precision and confidence. The lament was beautifully sung by the alto soloist with a warm, expressive legato and imaginative phrasing. The "Sancta Mater" which followed was dramatic and exciting with powerful playing from the brass section and the Choir clearly enjoying their singing and involvement in the musical drama. One of the highlights for me was the evocative cor anglais playing that ran like a thread through the performance and really created an evocative mood particularly when duetting with the soloist. I also enjoyed the pizzicato strings and tambourine accompanying the "Virgo Virginum" movement. The setting of the "Ave Verum" was most appealing with an effective blend of convincing musical shaping. The singing in the penultimate movement was a little uncertain and the pitching became rather flat here but the Choir recovered to give us a hypnotic finale as we ascended into Paradise.
So congratulations to the Burgess Hill Choral Society on yet another splendid concert much enjoyed by a near-capacity audience on a beautiful early summer's evening. Next time we hear them we will be busy wrapping our Christmas presents as they perform "The Infant King" on 12th December.
(Richard Haslam – Mid Sussex Times, April 2009)