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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)
