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Rossini
Petite Messe
Solennelle
St Barnabas Church
Calton Avenue, Dulwich Village
Saturday 28 March 2015, 7.30pm
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Mon - Fri: 9am - 5.30pm, Sat: 9.30am - 4pm
Saturday 28 March 2015, 7.30pm
St Barnabas Church, Calton Avenue, Dulwich Village, London SE21
DULWICH CHORAL SOCIETY
GIOACCHINO ROSSINI (1792–1868)
Petite Messe Solennelle
CAMILLA ROBERTS soprano
ROWAN HELLIER mezzo soprano
ADRIAN DWYER tenor
DAVID SOAR bass
1
2
3
4
5
6
7
8
with
DAVID ELWIN piano
RICHARD PEARCE harmonium
Kyrie
Gloria
Credo
Prélude religieux
Ritournelle
Sanctus
O salutaris hostia
Agnus Dei
An interval of 25 minutes follows the Gloria
Interval drinks will be available in the Undercroft
AIDAN OLIVER conductor
PROGRAMME NOTES
Gioacchino Antonio Rossini (1792–1868)
Petite Messe Solennelle (1863)
Phillip Gossett, the American musicologist and
authority on Rossini wrote about the composer: ‘no
composer in the first half of the 19th century enjoyed
the measure of prestige, wealth, popular acclaim or
artistic influence that belonged to Rossini. His
contemporaries recognised him as the greatest Italian
composer of his time’. His achievements in opera
caused the work of his predecessors to be forgotten;
his contemporaries, Bellini and Donizetti, worked
under his shadow, and even Beethoven, piqued by his
international recognition, resorted to snide remarks
about him.
Portrait of Rossini by Friedrich Lieder (1822)
the French horn and his mother was a singer). As a
boy he learnt the horn and singing and sang in at least
one opera in Bologna, where the family lived. He
studied there and began his operatic career when, at
18, he wrote a one-act comedy for La Fenice in
Venice. Further commissions followed, from Bologna,
Rossini was born in Pesaro, Italy on 29 February 1792
(a leap year!) into a musical family (his father played
3
Ferrara, Venice again and Milan, where La pietra del
paragone was a success at La Scala in 1812. His first
operas to win international acclaim date from 1813,
written for different Venetian theatres: the serious
Tancredi and the farcically comic L’Italiana in Algeri.
Two operas for Milan were less successful. In 1815
Rossini went to Naples as musical and artistic director
of the Teatro San Carlo, which led to his concentration
on serious opera. During this tenure he also
composed for other theatres, and from this time date
two of his supreme comedies, written in 1816 for
Rome, Il barbiere di Siviglia and La Cenerentola. Over
the next 13 years, Rossini wrote operas for Naples,
Venice, Bologna, London and Paris (where, in 1823, he
took on the directorship of the Théâtre-Italien).
Rossini refused to have them published. He referred
to them as péchés de vieillesse (‘sins of old age’).
Characterised by wit, parody, grace and sentiment,
these pieces were to influence the younger
generation of French composers, including SaintSaens and Chabrier. He died, universally honoured, in
1868.
On first hearing the Petite Messe Solennelle, the
listener is tempted to adapt a remark attributed to
Napoleon III and declare that the piece is neither little,
solemn nor especially liturgical in spirit. Even Rossini’s
Don Camilloesque inscription would suggest that he
himself inclined to such a view:
Dear God – behold completed this poor little Mass
– is it indeed music for the blest [‘musique Sacrée’]
that I have just written, or just some blessed music
[‘Sacrée musique’]? Thou knowest well, I was born
for opera buffa. A little technique, a little heart,
that is all. So bless Thee and grant me Paradise!
G Rossini – Passy 1863.
The first performance of the piece was given at the
town house of the dedicatee, the Countess Louise
Pillet Will, and those who attended agreed that, for all
Rossini’s protestations, the Mass represented a
magnificent feat of creative self-renewal for the 71year-old composer.
Rossini c. 1850 (Litho: F. Perrin)
By the age of 37 he had written over 40 operas but, in
1829, after completing Guillaume Tell, he retired to
live in Italy, but suffered prolonged and painful illness
there (mainly in Bologna, where he advised at the
Liceo Musicale, and in Florence). His wife, Isabella,
died in 1845 and the next year he married Olympe
Pélissier, with whom he had lived for 15 years and
who tended him through his ill-health. He composed
hardly at all during this period, but he went back to
Paris in 1855. Here his health and humour returned,
together with his urge to compose, and he wrote over
150 piano pieces, songs, small ensembles, including
the graceful and economical Petite Messe Solennelle
(1863). These works were only performed at his salon,
for private audiences, which included most of the
great artistic and public figures in Paris at the time.
Gioachino Rossini, photographed by Étienne Carjat (1865)
4
the Cum sancto spiritu and Et vitam venturi sæculi).
The magnificent tenor solo Domine Deus recalls the
Cujus animam from Rossini’s earlier Stabat Mater,
while Rossini’s operatic roots are represented in the
Quoniam. The insertion of the O salutaris (not part of
the liturgy, but often used as a hymn during the Mass
or Benediction) provided Rossini with an opportunity
to explore the unusual harmonies he was using in his
piano pieces at the time. The final, luminescent Agnus
Dei for contralto (Rossini’s favourite voice) and choir
brings the work to a dramatic close.
Barry Creasy
Caricature by H Mailly on the cover of Le Hanneton
(4 July 1867)
Rossini specified 12 as the ideal number of singers (his
instructions throughout are that the soloists should
also sing the chorus parts when not otherwise
involved), although subsequent performances have
generally involved a larger chorus and separate
soloists. Initially, the instrumental scoring of the Mass
for two pianos and harmonium seems strange but,
given its context as a salon piece, such
instrumentation is not unusual. Following a remark
from the critic of Le Siècle (who stated that there was
enough fire in the piece to melt a marble cathedral
were it to be scored for full chorus and orchestra),
Rossini proceeded to orchestrate the piece in the
years 1866–67. This orchestration, however, makes
very few concessions to orchestral colour and adds
nothing to the stature of the work, which depends
mainly on melody, line and rhythm.
Rossini's final resting place, in the Basilica of Santa Croce,
Florence
Rhythm and modulation play an important part in the
opening ternary-form Kyrie and the rhythmic
excitement continues throughout the Gloria and
Credo (especially of note is the contrapuntal writing in
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TEXT AND TRANSLATION
1 KYRIE
Chorus
Kyrie eleison, Christe eleison, Kyrie eleison.
Lord, have mercy. Christ, have mercy. Lord, have
mercy.
2 GLORIA
Soloists and Chorus
Gloria in excelsis Deo; et in terra pax hominibus,
bonae voluntatis. Laudamus te, benedicimus te,
adoramus te, glorificamus te.
Glory be to God on high and on earth peace, good will
towards men. We praise thee, we bless thee, we
worship thee, we glorify thee.
Alto, Tenor and Bass
Gratias agimus tibi propter magnam gloriam tuam.
We give thanks to thee for thy great glory.
Tenor
Domine Deus, rex coelestis, Pater omnipotens,
Domine fili unigenite, Jesu Christe.
Domine Deus, Agnus Dei, Filius Patris.
O Lord God, heavenly king, God the Father almighty. O
Lord, the only-begotten Son, Jesus Christ:
O Lord God, Lamb of God, Son of the Father.
Soprano, Alto
Qui tollis peccata mundi, miserere nobis!
Qui tollis peccata mundi, suscipe deprecationem
nostram.
Qui sedes ad dexteram Patris, miserere nobis.
Thou that takest away the sins of the world: have
mercy upon us. Thou that takest away the sins of the
world: receive our prayer.
Thou that sittest at the right hand of the Father, have
mercy upon us.
Bass
Quoniam tu solus sanctus, tu solus Dominus, tu solus
altissimus, Jesu Christe.
For thou only art holy. Thou only art the Lord. Thou
only O Jesus Christ art most high:
Chorus
Cum Sancto Spiritu in gloria Dei Patris.
Gloria in excelsis Deo. Amen
With the Holy Ghost in the glory of God the Father.
Amen.
Interval
3 CREDO
Soloists and Chorus
Credo in unum Deum, Patrem omnipotentem,
factorem coeli et terrae, visibilium omnium et
invisibilium, et in unum Dominum, filium Dei
unigenitum, et ex Patre natum ante omnia saecula:
Deum de Deo, lumen de lumine, Deum verum de Deo
vero, genitum, non factum, consubstantialem Patri,
per quem omnia facta sunt: Qui propter nos homines
et propter nostram salutem descendit de coelis; et
incarnatus est de Spiritu Sancto ex Maria virgine, et
homo factus est.
I believe in one God, the Father Almighty, Maker of
heaven and earth, of all things visible and invisible; in
one Lord Jesus Christ, the only-begotten Son of God,
begotten of his Father before all ages; God of God,
light of light, true God of true God; begotten, not
made, being of one substance with the Father, by
whom all things were made: who for us men, and for
our salvation, came down from the heavens, and was
incarnate by the Holy Ghost of the Virgin Mary, and
was made man:
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Soprano
Crucifixus etiam pro nobis sub Pontio Pilato, passus et
sepultus est.
He was crucified also for us under Pontius Pilate, he
suffered under Pontius Pilate, and was buried;
Soloists and Chorus
Et resurrexit tertia die secundum scripturas:
Et ascendit in coelum, sedet ad dexteram Patris.
Et iterum venturus est cum gloria judicare vivos et
mortuos; cujus regni non erit finis.
Et in Spiritum Sanctum Dominum et vivificantem, qui
ex Patre Filioque procedit, qui cum Patre et Filio simul
adoratur et conglorificatur; qui locutus est per
prophetas. Et unam sanctam catholicam et
apostolicam ecclesiam. Confiteor unum baptisma in
remissionem peccatorum, et expecto resurrectionem
mortuorum:
He rose again on the third day, according to the
Scriptures; he ascended into heaven, and sitteth at the
right hand of the Father.
And he shall come again with glory to judge the living
and the dead; of whose kingdom there shall be no
end: I believe in the Holy Ghost, the Lord, the giver of
life, who proceedeth from the Father and the Son; who
with the Father and the Son together is worshipped
and glorified; who spoke by the prophets. I
acknowledge one baptism for the remission of sins
and I look for the resurrection of the dead,
Et vitam venturi saeculi. Amen.
and the life of the world to come. Amen.
4 PRELUDE RELIGIEUX
5 RITOURNELLE
6 SANCTUS
Soloists and Chorus
Sanctus, sanctus, sanctus dominus Deus Sabaoth.
Pleni sunt coeli et terra gloria tua.
Hosanna in excelsis!
Benedictus qui venit in nomine Domini.
Hosanna in excelsis!
Holy, holy, holy, Lord God of Hosts. Heaven and earth
are full of his glory. Hosanna in the highest.
Blessed is he that cometh in the name of the Lord.
Hosanna in the highest.
7 O SALUTARIS
Soprano
O salutaris hostia, quae coeli pandis ostium.
Bella premunt hostilia da robur fer auxilium.
Amen.
O saving Victim opening wide the gate of heaven to all
below. Our foes press on from every side: thine aid
supply, thy strength bestow.
8 AGNUS DEI
Alto and Chorus
Agnus Dei, qui tollis peccata mundi, miserere nobis!
Agnus Dei, qui tollis peccata mundi, dona nobis
pacem!
O Lamb of God, who takest away the sins of the world,
have mercy upon us.
O Lamb of God, who takest away the sins of the world,
grant us peace.
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Richard Hickox, Mendelssohn’s Elijah Philharmonic
Hall Liverpool and Verdi’s Requiem with the Orchestra
of Scottish Opera. For Raymond Gubbay she sang
at Symphony Hall Birmingham, Bridgewater Hall
Manchester, and the Royal Albert Hall, and she
performed at the Queen Elizabeth Hall, St John’s
Smith Square London and at St David’s Hall Cardiff.
Camilla has sung recitals at the Cheltenham
International Festival of Music, North Wales
International Music Festival, Fishguard Festival and
in Milan.
Born in Wrexham, North Wales, Camilla Roberts
studied at the Guildhall School of Music and
Drama and the National Opera Studio, sponsored by
Welsh National Opera. In 2005 Camilla Roberts
represented Wales in the BBC Cardiff Singer of the
World Competition. Other awards include the
inaugural Kenneth Loveland Gift, the Harold Rosenthal
Award and the WNO Chris Ball Bursary.
CAMILLA ROBERTS
Camilla Roberts’ most recent and future engagements
include Donna Anna in Don Giovanni with the English
Touring Opera, Elisabetta in Maria Stuarda with
Welsh National Opera at the Royal Opera House
Muscat, Oman and at the Royal Opera House Covent
Garden; Andromache in King Priam with English
Touring Opera; Santuzza in Cavelleria Rusticana with
Welsh National Opera; Eglantine in Euryanthe with the
Chelsea Opera Group; First Lady in Die
Zauberflöte with Welsh National Opera;
Rossini’s Stabat Mater with the Bristol Choral
Society; and Beethoven IX with the Three Choirs
Festival.
Camilla’s other roles at Welsh National Opera have
included Fiordiligi (Così fan tutte), Donna Anna (Don
Giovanni), Countess (Le Nozze di
Figaro), Micaela (Carmen), Diane (Iphigenie en
Tauride), Blumenmädchen (Parsifal) and
Laura (Iolanta), which she also performed at the BBC
Proms. Other noted past performances include
Irene (Belisario) Opera Rara, Foreign
Princess (Rusalka) ETO, Anna (Nabucco) Opera North,
Tatayana (Eugene Onegin) Opera Holland Park,
Marenka (The Bartered Bride), Mimi (La Bohème) Mid
Wales Opera and Anna (Le Villi) Chelsea Opera Group.
Camilla covered Elsa (Lohengrin) and Lisa (Pique
Dame) Welsh National Opera, Katya Kabanova (title
role) and Rusalka (title role) Opera North, as well as
Donna Anna and Countess Glyndebourne Festival
Opera.
ROWAN HELLIER
Rowan Hellier was a member of the International
Opera Studio at the Berlin Staatsoper Unter den
Linden where her roles included Zweite Dame in Die
Zauberflöte, Annina in La Traviata and Kate Pinkerton
in Madama Butterfly. She studied at the Royal
Scottish Academy of Music and Drama and the
Guildhall School of Music and Drama.
Rowan has worked with leading conductors such as
Alexander Vedernikov, Laurence Cummings, Christian
Kluxen, Julien Salemkour, Nicholas Collon, Leo
Hussain, Alexander Soddy, André de Ridder and Omer
Meir Wellber.
Concert highlights include Beethoven’s Symphony No
9 at the Barbican Hall under David Parry,
Rossini’s Stabat Mater at St Endellion Festival under
9
Recent and future engagements include Penelope in
Monteverdi’s Return of Ulysses for Iford Festival
conducted by Christian Curnyn, Cyrus in Belshazzar
and Messiah with the King’s Consort in Versailles,
Mahler’s Rückert-lieder at the Bath International
Festival, Bach’s Christmas Oratorio with the Stavanger
Symphony Orchestra, Messiah with the Dunedin
Consort, Wellgunde in Das Rheingold with Vladimir
Jurowski and the LPO, Dido in Dido and Aeneas with
Trevor Pinnock at Wigmore Hall, the title role in J C
Bach’s Adriano in Siria with Classical Opera and Frau
Grubach/Washerwoman in the world premiere of
Philip Glass’s The Trial with Music Theatre Wales at
the Linbury Studio Theatre, the Royal Opera House
and on tour.
Recent and future highlights include Hermes (King
Priam) and Inkslinger/Narrator (Paul Bunyan) for
English Touring Opera, Narraboth (Salome) for NI
Opera, Huon (Oberon) for New Sussex Opera, Sir
Edgar Aubry in Marschner’s Der Vampyr for the Cork
Summer Festival, Lemminkainen (Swanhunter) for
Opera North, and Trin (La Fanciulla del West) and
Trabuco (La Forza del Destino) for English National
Opera.
DAVID SOAR
David was born in Nottinghamshire and studied organ
and singing at the Royal Academy of Music. As an
organist he held many positions including organ
scholarships at Southwell Minster, Chichester
Cathedral and St Bride’s, Fleet Street and, finally, as
Director of Music at All Saint’s Parish Church, Kingston
upon Thames. In 2003 David changed course to
pursue a professional singing career, which he began
as a member of the chorus of Welsh National Opera. A
period of study at the National Opera Studio saw him
return to WNO in 2006 as a principal artist. He has
since enjoyed a long association with the company,
performing many roles including Colline (La Bohème),
Escamillo (Carmen), Ferrando (Il Trovatore), Alidoro
(La Cenerentola), The King (Aida), Doctor (Wozzeck),
Figaro (Le Nozze di Figaro), The Nightwatchman (Die
Meistersinger), Sparafucile (Rigoletto) and Leporello
(Don Giovanni).
ADRIAN DWYER
Born in Melbourne, Adrian Dwyer studied at the
Guildhall School of Music and Drama and the National
Opera Studio, London. He made his professional
debut as Rodolfo in Baz Luhrmann’s La Bohème in Los
Angeles, winning an LA Stage Alliance Award for
Outstanding Performance. Since then his roles have
included Bénédict in Béatrice et Bénédict (Opera
Comique, Paris), Macduff in Macbeth and Almaviva in
Barbiere di Siviglia (Scottish Opera), Andres in
Wozzeck, Jaquino in Fidelio, Janek in The Makropoulos
Case, Arturo in Lucia di Lammermoor, Grailknight in
Parsifal and SS Officer in Weinberg’s The Passenger
(all with English National Opera), Miroslav/Harpist in
Excursions of Mr Broucek, Robert in Skin Deep and
Janek in The Makropoulos Case (Opera North), Don
Ottavio in Don Giovanni and Giuseppe in La Wally (for
Opera Holland Park and Belle Ile Festival France,
respectively), Alfredo in La Traviata and Almaviva
(Opera Queensland), Rodolfo in La Boheme (Cape
Town Opera, Royal Albert Hall), Sam Kaplan in Street
Scene (Opera de Toulon) and Ismaele in Nabucco
(State Opera of South Australia).
Roles elsewhere include Alvise Badoero (La Gioconda)
for Opera Holland Park, Donner (Das Rheingold) for
the Lucerne Festival, Alfonso d’Este (Lucrezia Borgia)
for the Buxton Festival, Masetto (Don Giovanni),
Sleep/Coridon/Winter/Hymen (The Fairy Queen) and
Mr Flint (Billy Budd) for Glyndebourne Festival Opera,
Collatinus (The Rape of Lucretia) for Glyndebourne
10
Touring Opera, Masetto and Colline for the Metropolitan Opera, New York, Don Basilio (The Barber of Seville) and Roy Disney (The Perfect American) for ENO and, recently, Pistola (Falstaff) for the Saito Kinen Festival in Japan. He has an extensive concert repertoire, highlights amongst which are Beethoven’s 9th Symphony with the Bamberg Symphony Orchestra, Messiah with the English Concert and Walton’s Belshazzar’s Feast with the Halle Orchestra and the BBC Philharmonic. Last year David performed and recorded Elgar’s The Dream of Gerontius with the BBC Symphony Orchestra and Chandos Records under Sir Andrew Davis, which was received with critical acclaim. Future plans include a return to the Glyndebourne Festival and Nilakantha (Lakmé) for Opera Holland Park, as well as concerts with the Academy of Ancient Music and the Bournemouth Symphony Orchestra. including much contemporary and new music. Richard has a long-­‐standing association with the Royal Choral Society, and performs with them several times a year at the Royal Albert Hall in London. In addition, he makes twice-­‐yearly trips to Sweden to work with groups in the Stockholm and Malmö areas. Richard is a sought-­‐after accompanist for chamber choirs in London and elsewhere, and has recorded several CDs over the last year for Oxford University Press, championing new compositions and composers, and also released a CD for Naxos with Oxford-­‐based choir ‘Commotio’ last year. He conducts the Waverley Singers, a choral society based in Farnham, Surrey. Richard is regular organist with the Philharmonia Orchestra in London. He also performs with the BBC Symphony Orchestra and Chorus in Promenade concerts and recordings, most recently at the Last Night of the Proms. He frequently conducts and plays for services at St Margaret’s Church, Westminster and at the Houses of Parliament. Richard is a vocal coach and staff accompanist at the Guildhall School of Music and Drama. RICHARD PEARCE Richard Pearce was organ scholar at Trinity College, Cambridge, where as conductor and organist he toured and recorded extensively with the chapel choir. After graduating with first class honours in music, he studied piano accompaniment for two years at the Guildhall School of Music and Drama in London. DAVID ELWIN David Elwin studied at the Royal Academy of Music under Jean Harvey, Max Pirani and Rex Stephens. His first professional work was as staff pianist with the Royal Ballet, and later with the English National Ballet. He regularly performed as piano soloist with both companies in nationwide venues. Richard is fortunate to work in a variety of musical fields, but working with chamber choirs and choruses has become a speciality. He records and broadcasts regularly with the BBC Singers on both piano and organ, and conducted them on a trip to Vezelay, France, in August; he enjoys the challenge of preparing an extremely wide variety of repertoire 11 In 1992 he left ENB to go freelance, and is now
engaged combining activities as an
accompanist/répétiteur, duo partner, soloist,
instrumental and vocal coach and piano teacher.
while as conductor he holds positions at St Margaret’s
Church Westminster, the St Endellion Festival and
Dulwich Choral Society. He also assists regularly on
the staff of the Royal Opera House and at English
National Opera, and works with many of London’s
leading choirs.
From 1987 until 1995 he was accompanist and
répétiteur for the distinguished voice trainers Audrey
Langford and Andrew Field, working with established
singers such as Joan Rodgers, Susan Bullock and
Stephen Varcoe, to name but a few.
Aidan is one of the UK’s most sought-after chorus
masters. He has prepared the BBC Symphony Chorus
for broadcasts including Syzmanowski Stabat Mater
(BBC Proms) and Walton Belshazzar’s Feast; the BBC
Singers for Boulez cummings ist der dichter,
Mendelssohn Antigone (BBC Proms) and Ligeti Le
Grand Macabre; and English National Opera for
Britten Peter Grimes (BBC Proms), Wagner Twilight of
the Gods and Beethoven Fidelio.
Until 2011 he worked for 15 years with students at
the Kent Music Academy in Maidstone, as pianist and
coach for concerts and examinations. In 2002 he was
accompanist in residence for the first London Lieder
Competition.
As Assistant Conductor to Esa-Pekka Salonen, Aidan
has toured with the Philharmonia to the USA, Europe
and Russia. He was also invited by the late Lorin
Maazel to direct the chamber orchestra in
performances under him of Britten War Requiem in
London and Hong Kong. As the Associate Conductor of
the St Endellion Festival in Cornwall he has conducted
works as varied as Macmillan Seven Last Words,
Tchaikovsky Symphony No 5, Wagner Wesendonck
Lieder, Rachmaninov All-Night Vigil, and Stravinsky
The Soldier’s Tale, the latter with Rory Kinnear as
narrator.
David has wide experience as a choral accompanist:
he is currently engaged at the Dulwich Choral Society
under musical director Aidan Oliver, and at OSJ Voices
with former King’s Singer and now chorus master and
conductor Jeremy Jackman.
As Director of Music at St Margaret’s Westminster,
Aidan works with organist Thomas Trotter and a
professional choir to provide the music for many highprofile Parliamentary occasions, including memorial
services for many leading public figures. Under Aidan,
the choir has developed a particular association with
contemporary music, premiering works by composers
including Joseph Phibbs, Matthew Martin, Gareth
Treseder, Alastair Putt and Francis Grier.
Aidan Oliver began his musical career as a chorister at
Westminster Cathedral, later studying at Eton College
and at King’s College Cambridge. After graduating
with a Double First in Classics, he pursued further
studies at Harvard University (as a Kennedy Scholar),
the National Opera Studio and King’s College London.
He lives in East Dulwich with his wife Lois and their
two children.
AIDAN OLIVER
Aidan Oliver pursues a varied career as conductor and
chorus master across the full range of operatic,
symphonic and choral repertoire. As Director of
Philharmonia Voices he is involved in many of the
Philharmonia Orchestra’s most ambitious projects,
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Dulwich Choral Society Honorary President Dame Emma Kirkby Vice Presidents His Honour Judge Michael Goodman, Roger Page Musical Director Aidan Oliver Chairman Dr Iain Saville CBE Accompanist David Elwin Dulwich Choral Society was founded in 1944. Today it is a thriving, friendly choir that performs at least three concerts a year, including two with professional orchestras and top-­‐class soloists. Since 2006 Aidan Oliver, one of the UK’s leading choral conductors, has been the choir’s Musical Director. As well as giving concerts in the Dulwich area, the choir has performed more widely in central London and abroad. Since 1998 the choir has undertaken tours to Belgium, the Czech Republic, France, Italy, Germany and Estonia, Bosnia and Herzegovina. Our most recent overseas tour was to Portugal in 2014, where we performed in some very beautiful venues in Lisbon and Sintra. Closer to home the choir performs in several of the wonderful churches in and around Dulwich, and enjoys a strong local following. DCS also organises very popular ‘come and sing’ events; the next opportunity for you to sing with us is on 18 April 2015, when we will rehearse and give an informal performance of Verdi’s Requiem. See p 15 below for details. Do please come and join us for what promises to be a very exciting day! Would you like to join us? New choir members are always welcome. If you are interested in joining the choir, please contact Jo Merry, our Membership Secretary, on 020 7737 3169 or [email protected] for more details. Entry is subject to an informal audition by the Musical Director who, besides a reasonable singing voice, will be looking for basic sight-­‐reading ability and general musicality. Membership costs £165 a year and is currently free for those aged under 26 or in full-­‐time education. Rehearsals take place on Monday evenings from 7.30 to 9.30pm at All Saints Church, Lovelace Road, West Dulwich, London. The church is about 5–10 minutes’ walk from either Tulse Hill or West Dulwich stations and is served by a number of bus routes, including the 3, P13 and 201. For further details, visit: www.dulwichchoralsociety.org.uk 13 DULWICH CHORAL SOCIETY
Sopranos
Altos
Tenors
Nicola Alexander
Margaret Bailey
Linda Beadnell
Nicola Blaney
Sue Chandler
Marie Pierre Denaro
Edith Fehrenbach
Sophie Fender
Honor Gay
Didi Greig
Rebecca Harrison
Cecilia Hill
Tamara Howard Pierce
Juliana Kirby
Asha Last
Denise Lawson
Julia Layton
Heidi Lempp
Ingrid Lucas
Kassy Luto
Priscilla Macpherson
Morven Main
Fenella Maitland Smith
Teresa Marshall
Diane Pengelly
Susan Perolls
Carmo Ponte
Susan Powell
Hilary Pu
Fleur Read
Jenny Thomas
Jane Tippe
Jessica Watson
Gracita Woods
Becky Bahar
Zina Boykova
Amanda Carey
Marilyn Checkley
Helen Chown
Ann Cowan
Julia Field
Joanna French
Vivien Gambling
Helen Graham
Gill Hancock
Jill Harris
Sarah Hughes
Julie Jones
Jo Merry
Jane Palmer
Nicola Prior
Rosemary Publicover
Susan Robinson
Frances Steele
Beini Ye
Roger Atkins
Forbes Bailey
Rowan Barnard
Nick Bolt
Giles Craven
Robert Foster
John Greig
Steve Harrison
Andrew Lang
Jon Layton
Jonathan Palmer
Michael Palmer
John Quigley
Iain Saville
Eric Sneyd
Nick Vaisey
Jack Wensley
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Basses
Andrew Black
Christopher Braun
Ian Chown
Guy Collins
Michael Faulkner
Malcolm Field
Simon Foster
Alex Hamilton
Michael Kenny
Paul Kinnear
Adrian Lambourne
Mike Lock
Peter Main
Duncan Pra
Barney Rayfield
Mike Shepherd
Paul Stern
Richard Webb
Friends and
Patrons
Forthcoming concerts
Summer Concert 2015
Dulwich Choral Society
gratefully acknowledges the financial support it
receives from its valued Friends and Patrons:
Saturday 27 June 2015, 7:30pm
St Stephen’s Church, College Road
South Dulwich
Summer Loving …
Inge Kelly
June Cleall-Harding
John & Judy Clark
Denise & John Lawson
Peter Thomas
Roger & Scylla Page
Carmo Ponte
Iain Saville
From an English country garden to a balmy
Venice evening, Dulwich Choral Society
presents a summery collection of romance,
heartbreak and joy!
The programme will include:
Brahms Liebeslieder (excerpts)
Offenbach Barcarolle from The Tales of
Hoffmann
Grainger Shallow Brown
Barber Sure on this shining night
Gershwin Summertime
The Friends and Patrons are a group of people who
enjoy coming to our concerts and social events
whenever possible and are interested in ensuring the
future stability of the choir. Supporters of the choir
(and current choir members) will be warmly
welcomed as new Friends and Patrons.
Benefits of membership of the scheme include:
Come and Sing
Verdi’s REQUIEM
with
Dulwich Choral Society
on
Saturday 18 April 2015
at
St Barnabas, Calton Avenue
Dulwich Village SE21 7DG
• advance booking for concerts
• discounts on tickets bought through the choir
• reserved seats with tickets bought through the
choir
• a free interval drink with each ticket bought (at
certain concert venues)
• a programme signed by a soloist (for patrons)
• mailings of details of future programmes
Join us for an exciting day to rehearse and
give an informal performance of Verdi’s
thrilling masterpiece in one day under the
direction of Aidan Oliver, with piano and
professional soloists
Dulwich Choral Society is a registered charity with
number 264764. Donations made under Gift Aid will
enable the income tax to be recovered as an
additional benefit.
Please contact Jo Merry on
[email protected]
and for full details see
www.dulwichchoralsociety.org.uk
For more information, please contact:
Fenella Maitland-Smith
5 Rockwell Gardens London SE19 1HW
[email protected]
07786 060640
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