Requiem
Arias & Choruses from Mozart Operas
Mozart Piano Concerto No27
Music Directors: Ben Thapa
Martin Smith
Piano: Robert Bridge
Soloists: Claire Filer
Emma Jüngling, Graham Neal
Peter Norris
Saturday 15th June, at 7pm
All Saints Church, East Sheen
“Celebrating
Mozart - the Operatic Composer”
Choral church music plays a relatively minor role in the canon of Mozart’s music. As between the sacred and the profane, it is the latter which prevails, no more so than in the sphere of opera. If the tradition of opera was somewhat formulaic, it was Mozart’s genius to infuse it with humanity: in terms of the depiction of human relations and engagement, of character, of mood and emotion. Few composers have had such an understanding of women as Mozart had - of their joy and despair and of their nature. All that richness of subject matter was enhanced by Mozart’s mastery of the theatre, his understanding of “drama”, his sensitivity to the written text and his love of writing for vocal ensembles including different combinations of voices such as duets, trios, quartets and quintets.
In Mozart’s operas, the chorus are not centre stage. Rather, they are adjuncts to the rich interplay of relations between men and women. The opera excerpts the soloists and choir are singing this evening reflect this. The excerpts also include an aria for soprano solo and a quintet of soloists.
Many of Mozart’s finest piano concertos are infused with the operatic spirit. His final piano concerto in B flat major K.595 has its operatic side. The first movement involves ‘conversations’ between different sections of the orchestra. The second movement is a long-breathed aria, clothed in serenity. The final movement is one of bustle and high spirits. Jeremy Siepman’s description of this concerto is apt; he refers to “its extreme simplicity of utterance” and “its breathtaking economy of means”.
After the interval, there is the Requiem. It could so easily have been a ‘traditional’ work, portraying the congregation at prayer in the worship of the Lord. Humanity bending the knee and the human spirit before the Divine presence. The subordination of the Secular to the Sacred.
Instead we have a work of extraordinary Humanity which straddles the theatre and the church. The Secular and the Sacred are fused. The chorus are the characters; the orchestra provides the stage. The gamut of human experience – joy, sorrow, exhilaration, hope, fear, despair and triumph – is experienced. We, the audience, the musicians and the chorus emerge with lives enriched by the creative genius of Mozart. (But not forgetting the patient endeavours of Constanze Mozart and Franz Xaver Süssmayr which enabled this work to be given birth.)
Every performance of the Requiem is special. It is a celebration of Humanity and the Creative Spirit. | Simon Renton
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Programme
I. Opera choruses
1. Che del ciel (La Clemenza di Tito) – Soloists & Chorus
2. Deh, se piacer mi vuoi (La Clemenza di Tito) - Soprano solo
3. Placido è il mar (Idomeneo) - Soprano solo & Chorus
4. Hmmm hmm hmm (The Magic Flute) - Quintet (SATB Soloists & Claire Michelet, a member of the choir)
5. Finale (The Magic Flute) – Bass solo & Chorus
II. Piano Concerto No.27 in B flat, K.595 – Piano & Orchestra (conductor Martin Smith)
INTERVAL (20mins)
III. Requiem, K. 626 (facilitated by Constanze Mozart and completed by Franz Süssmayr)
Participants
Soloists
Soprano
Mezzo Soprano
Tenor
Piano
Claire Filer
Emma Jüngling
Graham Neal Bass-Baritone
Choir Sheen Gate Choir
Orchestra Richmond Orchestra
Mozart Requiem
I. Introitus: Requiem
Requiem aeternam dona eis, Domine, Et lux perpetua luceat eis.
Te decet hymnus, Deus, in Sion, Et tibi reddetur votum in Jerusalem.
Exaudi orationem meam, Ad te omnis caro veniet. Requiem aeternam dona eis, Domine, et lux perpetua luceat eis.
Peter Norris
Robert Bridge
Conducted by Ben Thapa
Conducted by Martin Smith
Grant them eternal rest, O Lord, and may perpetual light shine on them. Thou, O God, are praised in Zion, and homage will be paid to Thee in Jerusalem.
Hear my prayer, unto Thee all flesh shall come.
Grant them eternal rest, O Lord, and may perpetual light shine on them
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II. KYRIE
Kyrie eleison. Christe eleison. Kyrie eleison.
lll. SEQUENZ
Dies irae
Dies irae, dies illa Solvet saeclum in favilla, Teste David cum Sibylla.
Quantus tremor est futurus, Quando Judex est venturus, Cuncta stricte discussurus!
Tuba mirum
Tuba mirum spargens sonum, Per sepulcra regionum, Coget omnes ante thronum.
Mors stupebit et natura, Cum resurget creatura, Judicanti responsura.
Liber scriptus proferetur, In quo totum continetur, Unde mundus judicetur.
Judex ergo cum sedebit, Quidquid latet, apparebit, Nil inultum remanebit.
Quid sum miser tunc dicturus, Quem patronum rogaturus, Cum vix justus sit securus?
Rex Tremendae
Rex tremendae majestatis, Qui salvandos salvas gratis, Salve me, fons pietatis.
Recordare
Recordare, Jesu pie, Quod sum causa tuae viae; Ne me perdas illa die.
Quaerens me, sedisti lassus, Redemisti crucem passus; Tantus labor non sit cassus.
Lord have mercy on us. Christ have mercy on us. Lord have mercy on us.
Day of wrath, that day will dissolve the world in ashes, as foretold by David and the Sibyl.
What dread there will be When the Judge shall come to examine all things strictly.
The trumpet will send its wondrous sound throughout earth's sepulchres and gather all before the throne.
Death and nature will be astonished when all creation rises again, to answer the Final Judgement.
A Book will be brought forth, in which all will be written, by which the world will be judged.
When the Judge takes his place, whatever is hidden will be revealed, nothing will remain unavenged.
What shall a wretch like me say? Who will intercede for me, when even the righteous need mercy?
King of awesome majesty, who freely saves those deserving redemption, save me, O source of mercy.
Remember, blessed Jesus, my salvation caused your suffering; do not forsake me on that day.
Faint and weary you have sought me, redeemed me by your suffering on the cross; may such agony be not be in vain.
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Juste judex ultionis, Donum fac remissionis Ante diem rationis.
Ingemisco tamquam reus: Culpa rubet vultus meus; Supplicanti parce, Deus.
Qui Mariam absolvisti, Et latronem exaudisti, Mihi quoque spem dedisti.
Preces meae non sunt dignae, Sed tu, bonus, fac benigne, Ne perenni cremer igne.
Inter oves locum praesta, Et ab haedis me sequestra, Statuens in parte dextra.
Confutatis
Confutatis maledictis, Flammis acribus addictis, Voca me cum benedictis.
Oro supplex et acclinis, Cor contritum quasi cinis, Gere curam mei finis.
Lacrimosa
Lacrimosa dies illa, Qua resurget ex favilla Judicandus homo reus. Huic ergo parce, Deus, Pie Jesu Domine, Dona eis requiem. Amen.
IV. OFFERTORIUM
Domine Jesu
Domine Jesu Christe, Rex gloriae, Libera animas omnium fidelium
Defunctorum de poenis inferni et de profundo lacu. Libera eas de ore leonis, Ne absorbeat eas tartarus, Ne cadant in obscurum.
Sed signifer sanctus Michael Repraesentet eas in lucem sanctam.
Quam olim Abrahae promisisti Et semini ejus.
Righteous judge of vengeance, grant me the gift of absolution before the day of retribution.
I groan as one who is guilty: admitting my shame by my blushing face; spare a suppliant before you, O Lord.
You, who absolved Mary, and heard the thief, give me hope also.
My prayers are unworthy, but, good Lord, have mercy, and rescue me from eternal fire.
Grant me a place among the sheep, and separate me from the goats, placing me on Thy right hand.
When the accused have been confounded, and consigned to bitter flames of woe, call me to be with the blessed.
I kneel with submissive heart, my contrition is like ashes, help me at my End.
That day of tears and mourning, when from the dust shall arise, all humanity to be judged. Spare us by your mercy, Lord, gentle Jesus, grant them eternal rest. Amen.
Lord Jesus Christ, King of glory, deliver the souls of the departed faithful from the pains of hell and from the bottomless pit. Deliver them from the lion's mouth, lest hell swallow them up, lest they fall into darkness.
Let St. Michael, Thy standard-bearer, lead them into the holy light.
Which once Thou didst promise to Abraham and his descendants.
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Mozart Requiem
Hostias
Hostias et preces tibi, Domine, Laudis offerimus.
Tu suscipe pro animabus illis, Quaram hodie memoriam facimus. Fac eas, Domine, de morte transire ad vitam, Quam olim Abrahae promisisti Et semini ejus.
V. SANCTUS
Sanctus. Sanctus, Sanctus, Dominus Deus Sabaoth!
Pleni suni coeli et terra gloria tua. Osanna in excelsis.
VI. BENEDICTUS
Benedictus qui venit in nomine Domini. Osanna in excelsis.
VII. AGNUS DEI
Agnus Dei, qui tollis peccata mundi, Dona eis requiem.
Agnus Dei, qui tollis peccata mundi, Dona eis requiem.
Agnus Dei, qui tollis peccata mundi, Dona eis requiem sempiternam.
VIII. COMMUNIO
Lux aeterna luceat eis, Domine, Cum sanctis tuis in aeternum, Quia pius es.
Requiem aeternum dona eis, Domine, Et Lux perpetua luceat eis, Cum Sanctus tuis in aeternum, Quia pius es.
We offer unto Thee, O Lord, sacrifices and prayers of praise. Receive them on behalf of those souls we commemorate today. And let them, O Lord, pass from death to life, which once Thou didst promise to Abraham and his descendants.
Holy, holy, holy, Lord God of Sabaoth!
Heaven and earth are full of Thy glory. Hosanna in the highest.
Blessed is He who cometh in the name of the Lord. Hosanna in the highest.
Lamb of God, who taketh away the sins of the world, grant them eternal rest. Lamb of God, who taketh away the sins of the world, Grant them eternal rest. Lamb of God, who taketh away the sins of the world, Grant them eternal rest forever.
May eternal light shine on them, O Lord, as with Thy saints in eternity, because Thou art merciful. Grant them eternal rest, O Lord, and may perpetual light shine on them, as with Thy saints in eternity, because Thou art merciful.
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Ben Thapa: Music Director and Conductor, Sheen Gate Choir
Ben started his career as one quarter of the classical opera group G4, runners-up on ITV’s The X Factor in 2004. Ben left the group in 2018, and has forged a varied and substantial career across a range of repertory. As a singer, Ben has performed with the Royal Opera, English National Opera, Scottish Opera, Teatru Manoel, Malta, Longborough Festival Opera and Garsington Opera in soloist capacities, and at venues including the Royal Albert Hall, Royal Festival Hall, the Birmingham Symphony Hall and more. In the last few years, Ben’s career has increasingly encompassed conducting. He has conducted the Bach Choir, Nederlands Kammerkoor and Ex Cathedra, for whom he premiered (in the UK) the role of the President in Stockhausen’s Mittwoch aus Licht, an engagement which required both disciplines! Ben has a small roster of choirs which he works with on a weekly basis, works as a choral workshop leader, and is passionate about unlocking voices and allowing them to flourish. In his spare time, Ben is a national level spirits judge, runs a blog on gin and perfume, and has regularly been spotted as the largest competitor on marathon start lines around Europe.
Robert Bridge: Piano
Robert was a foundation scholar at the Royal College of Music where he won the RCM Chopin prize and was awarded a first class honours in the London BMus degree. He has given concerts in the Wigmore Hall, the Purcell Room, BBC lunchtime concerts and has performed twice in the BBC Proms at the Royal Albert Hall. He has accompanied masterclasses for Elizabeth Schwarzkopf, Ruggiero Ricci, Steven Isserlis and Gerard Souzay and has made numerous recordings for BBC Radio 3. He teaches piano to enthusiastic kids and rusty adults, is an Associated Board examiner and organises an annual series of Knitting Concerts in Putney, where he subjects unwitting audiences to Webern, Tippett, Janacek and Brahms whilst they read, sew and occasionally listen.
Martin Smith: Music Director and Conductor, Richmond Orchestra
Martin was a scholarship winner at the Royal Academy of Music, where he studied violin and conducting. He has pursued a career as a professional violinist and has performed throughout Britain and Europe. He is active in the field of chamber music, as a member of the Duke String Quartet, the Ellerdale Piano Trio and Primavera Ensemble, and currently with the Cirrus String Quartet. He has worked with many of the country’s foremost chamber orchestras, such as the Academy of St Martin in the Fields, the English Chamber Orchestra, the London Mozart Players and also works (as leader) with Orchestra Nova. In recent years, Martin has returned to conducting, working with the London Mozart Players and the London Soloists Chamber Orchestra. He has been Artistic Director of Enfield Chamber Orchestra since 2008, and of the Richmond Orchestra since 2016. He is increasingly in demand as a guest conductor. His other interests include Roman roads and the outdoors in general.
Soloists
Claire Filer, Soprano - Born in New Zealand, Claire has studied and performed in the US, UK and Europe and holds a MA (Distinction) from the Wales International Academy of Voice, amongst other qualifications. Her operatic roles have included Micaëla Carmen, Ortlinde Die Walküre, Mimì (Act 1) La Bohème, Fiordiligi Così fan tutte. Oratorio engagements include Handel Messiah, Beethoven 9th Symphony, Mozart Requiem, Mass in C Minor and Coronation Mass, Rossini Petite Messe Solennelle, Cecilia McDowall Magnificat, Pergolesi Stabat Mater, Bach Magnificat and St John Passion, Fauré Requiem, Dvořák Stabat Mater and many of the ‘great’ Masses of Haydn.
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Emma Jüngling, Mezzo soprano - Emma is a Swiss-French singer based in London. She studied singing at the Royal Academy of Music in London and in Lausanne. She is the laureate of numerous prizes and attended the Verbier Festival Academy 2022 as Artist of Promise. This year, she made her debut as Carmen in Nancy (France). She has worked with English Touring Opera, Opéra de Lausanne, Wexford Festival Opera and The Grange Festival. Soloist engagements include Handel’s Israel in Egypt, Schönberg's Pierrot Lunaire and Frank Martin’s Golgotha. Her oratorio repertoire includes Handel's Dixit Dominus, Dvorak's Requiem and Mozart’s Requiem.
Graham Neal, Tenor - Graham is a graduate of the University of Surrey, the Knack opera course at the English National Opera, and Trinity College of Music. He has performed at The Royal Opera House, The English National Opera, Festival d’Aix-en-Provence, and Grange Park Opera. He performs with The English Concert, The King’s Consort, the BBC Singers, Philharmonia Voices, the Academy of Ancient Music, and The Monteverdi Choir, with whom he sang at the Coronation of Their Majesties The King and Queen.
Peter Norris, Bass-Baritone - Peter is a member of the Opera Studio at the Sibelius Academy, Helsinki. Amongst other qualifications, he graduated with Distinction from the Guildhall School of Music and Drama. He has toured extensively throughout Europe and North America and performed with the BBC Symphony Orchestra, London Chamber Orchestra, London Mozart Players, BBC Singers, The Sixteen and Voces8. Operatic roles include Sam in Trouble in Tahiti, Colline in La bohème, Aeneas in Dido and Aeneas, Dandini in La Cenerentola and Zaretsky in Eugene Onegin. He was also part of the ensemble at English Touring Opera for their recent production of Cinderella.
Richmond Orchestra
Richmond Orchestra is a full size symphony orchestra performing concerts in Richmond-uponThames. It provides opportunities for good non-professional players to enjoy playing the classical music repertoire, ranging from Bach and Vivaldi through the Classical and Romantic periods into the 20th Century with music by, for example, Stravinsky, Bartók, Rachmaninov and Henrietta Bosmans. Its Artistic Director is Martin Smith and its Leader is Marina Solarek. Beside the orchestra’s main concerts it takes part in charity, fundraising and educational events.
Sheen Gate Choir
Sheen Gate Choir is a non-selective amateur choir based in East Sheen, South West London, UK. Formed in 2009, we rehearse every week in the Sheen area, and try to perform a major work every year, as well as other smaller concerts. The choir believes that singing is a cathartic experience. It is uplifting, challenging and rewarding, and is a social part of our members’ lives. New members are always welcome. Past concerts have included Faure’s Requiem, Schubert’s Mass in G, Saint Saens’ Requiem, Brahms Requiem, Puccini’s Messa di Gloria, Vivaldi’s Gloria and Haydn’s Creation. We have travelled to perform with other choirs in Salzburg and Vienna.
We always welcome new singers to the Choir! Please come and try us out at our next Come and Sing event on Saturday 28 September 2024 or join us when normal rehearsals resume on Tuesday 10 September, 2024, both at Christ Church, East Sheen. Or if you would like to express your interest earlier, please use the contact form on our website: sheengatechoir.co.uk/contact-us/.
Finally: Sheen Gate Choir would like to thank all those guest contributors (too numerous to mention), Robert Bridge for his unfailing piano accompaniment during our rehearsals.