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REQUIEM VERDI

La casa di riposo per musicisti Huddersfield Town Hall - 7.30pm Friday 29 October 2010


Syngenta, Huddersfield Manufacturing Centre PO Box A38, Leeds Road, Huddersfield, HD2 1FF Tel: 01484 537456 Fax: 01484 517067 www.syngenta.com


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Requiem VERDI 1813 - 1901

ALWYN MELLOR • PATRICIA BARDON JOHN DASZAK • JAMES CRESWELL

VASILY PETRENKO ROYAL LIVERPOOL PHILHARMONIC ORCHESTRA Chorus Master: JOSEPH CULLEN

29 OCTOBER 2010 SPONSORED BY INCLUSIVE TECHNOLOGY FRIDAY

7.30 p.m. HUDDERSFIELD TOWN HALL

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SPONSORSHIP

The Huddersfield Choral Society’s success over recent years has been greatly assisted by the support of our Sponsors and their valued contribution to The Society’s wellbeing. We are fortunate indeed in having a number of faithful Sponsors of many years standing and we are very pleased when new Sponsors are able to join us. Opportunities do exist for further support and a share in the life of The Choral.

The Society is extremely grateful for the support from the following organisations over this season: • UNIVERSITY OF HUDDERSFIELD • Principal Partner • SYNGENTA • SS COMPONENTS LTD • • HUDDERSFIELD GRAMMAR SCHOOL • • THE GREENBANK GROUP UK • • INCLUSIVE TECHNOLOGY LIMITED •

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• G CONSULTING • 2

Tony Booth: Sponsorship Secretary

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Barn End, Binns Lane Holmfirth HD9 3JU Tel: 01484 682858 E-mail: tony.booth@huddersfieldchoral.com

We also express our sincere gratitude for the continuing personal sponsorship of Mrs. Catherine Osborne and Mrs. S. A. Brennan. 175th

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A Message from the President I, as President of Huddersfield Choral Society, am very pleased to welcome you to the first concert of the year, which is also the first concert of the Society's 175th Anniversary Season. This performance of one of the Society's favourite choral works, Verdi's Requiem is a welcome collaboration with the Royal LIverpool Philharmonic Orchestra under the baton of its distinguished Conductor, Vasily Petrenko and will be an excellent start to what promises to be an outstanding year both musically and socially. Many activities are planned throughout the year in addition to the usual subscription concerts, culminating in a special 175th Anniversary Concert in June 2011, the month of the Anniversary. Details of these various events and activities will appear in the press, communications to Subscribers and Friends and on the Society's web-site. Members of the choir are looking forward to what I am certain will be a most exciting season and I am sure that you, our Subscribers and Guests, will share this sense of pleasurable anticipation.

A Message from the President

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Welcome to the first concert of the 2010/11 subscription season, the Society's 175th anniversary season. We are delighted to welcome tonight the Royal Liverpool Philharmonic Orchestra, its conductor Vasily Petrenko, and international soloists Alwyn Mellor, Patricia Bardon, John Daszak and James Creswell for Verdi's setting of the Requiem. The work has been described as one of the greatest choral masterpieces of all time: charged with electric passion, terrifying force, vigorous rhythms, sublime melodies, tenderness and tranquillity, it comes straight from Verdi's soul. Last performed in Huddersfield in 2005, our 2008 Liverpool performance with Petrenko conducting the RLPO, Liverpool and Leeds Philharmonic Choruses and the Liverpool Metropolitan Cathedral Cantata Choir was widely acclaimed. We look forward to bringing the work afresh to our subscribers tonight.

all three nights, with the Huddersfield concerts being recorded by Signum Classics for a new release (due April 2011). In January the Society will travel to Stratford-upon-Avon as guests of the Stratford-upon-Avon Choral Society - also celebrating their 175th anniversary during 2011. The Choirs will perform Messiah in the newlyrefurbished Royal Shakespeare Theatre, conducted by our chorusmaster Joseph Cullen. Messiah will also be performed by the Society with the City of London Sinfonia at the Barbican on Good Friday (April 22nd 2011), again conducted by Joseph Cullen. The final subscription concert of the season on April 1st 2011 will include the UK première of Jonathan Harvey's Messages. Stravinsky Symphony of Psalms and Bruckner E minor Mass complete the programme, with Conductor Laureate, Martyn Brabbins and the Orchestra of Opera North. Martyn will return to conclude the anniversary season on June 18th 2011 with a performance of Elgar's Dream of Gerontius with the Hallé.

In the 175 years since Huddersfield Choral Society was founded, it has performed in many of the world's great musical centres. Its special quality is the unique 'Huddersfield Sound' - a thrilling full-bodied and firm blended tone, flexible enough for both the most shattering climaxes and for the softest but focused pianissimos. The anniversary season will be marked in a number of ways in addition to the regular Subscribers' and Public concerts, with an updated history of the Society entitled And the Glory already being published. Bob Edwards, the Society's first archivist, has revised the first edition originally published in 1985, bringing it up to the present day. The volume is available for sale tonight along with other commemorative items marking this significant anniversary.

During the year a series of free workshops will be held to encourage and develop singers of all ages. A choral conducting workshop in conjunction with the University of Huddersfield will strengthen the existing relationship with our principal sponsor, whose continued support we are grateful to acknowledge. Workshops for children and young people will also be offered in partnership with the Mrs Sunderland Music Festival and Kirklees Council.

This season our Junior Choirs also celebrate the milestone of their 25th anniversary. An exciting range of concerts and other events are planned for our young people, culminating in a special concert on 2nd July 2011 at which current members will be joined in performance by former members of the Choirs. Former members are encouraged to get in touch via junior.choirs@huddersfieldchoral.com.

We hope that the workshops will also contribute to our active recruitment programme to replace singers who retire or move away. Recruitment officer Gaynor Haliday (07539 468454 or gaynor.haliday@huddersfieldchoral.com) would be delighted to hear from anyone who is interested in joining the senior choir. Susan Wilkinson, Director of the Junior Choirs, (01924 404737 or susan.wilkinson@huddersfieldchoral.com) will be glad to assist those interested in the Junior Choirs. For ticket and subscriber enquiries, please contact our subscribers' secretary Julie Hale (07989 395 066 or julie.hale@huddersfieldchoral.com.

The Junior Choirs will be guests of the Society for the Christmas Concert on Friday 10th December 2010, conducted by Brian Kay and featuring the Hepworth Band. Indeed our first engagement of the season saw the Society performing as guests of Hepworth on 25th September, and we look forward to celebrating Christmas together once more.

Details of all future concerts and events can be found on the website at http://www.huddersfieldchoral.com - and for users of social media, you'll find us on Facebook, Twitter and YouTube too as we look ahead in the Society's third century of existence.

For many, Christmas “begins with Messiah” and this year's Subscription concert (21st December 2010) and Public concert (22nd December 2010) will follow a performance at the Sage, Gateshead on 20th December 2010. Jane Glover will conduct Northern Sinfonia and soloists Elizabeth Watts, Catherine Wyn-Rogers, Mark Le Brocq and Henry Waddington for

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Composer Notes Giuseppe Verdi (1813-1901)

turned from the style of Bel Canto to more expressive music and orchestration, like in 'Otello' (1887), based on the eponymous play by Shakespeare. Verdi's last and musically most brilliant, rich and expressive opera, 'Falstaff' (1893), was based on the Shakespeare's play "The Merry Wives of Windsor" in the adaptation of Victor Hugo.

Giuseppe Verdi was born Giuseppe Fortunino Francesco Verdi on October 10, 1813, in Le Roncole di Busseto, Parma, Italy. His parents were landowners and innkeepers. Young Verdi received his first organ lessons at the age of 7. He studied composition privately with Ferdinando Provesi in Busseto. At age 20 he moved to Milan to continue his studies, but the Conservatory of Music rejected him. Verdi took private lessons and associated with Milan's cultural milieu in his pursuit of a musical career. He was patronized by Antonio Barezzi, a merchant, whose daughter, Margherita, was Verdi's student and later became his wife.

Verdi's musical success coincided with the political events of Italian unification during the Austrian occupation. The 'Chorus of the Hebrew Slaves' from his opera 'Nabucco' (1842), became a popular song among supporters of Italian unification. Many of his opera performances were used by the supporters of Victor Emmanuel to shout "Viva Verdi" as a code name for a secret unification message. The name Verdi was used as acronym for "Vittorio Emanuele Re D'Italia" - Victor Emmanuel, King of Italy. Such a code enabled clandestine partisans of Victor Emmanuel, then the King of Sardinia, to gain more supporters in Milan which eventually led to the unification of Italy. Verdi was aware that his popular operas and his name was used as a political tool. Austrian censorship was powerless.

His first opera, Oberto (1839), was a successful production by Milan's Theatro La Scala. While Verdi continued working on his second opera, his wife and two children died. The second opera failed, and he suffered a depression and vowed to quit musical career. La Scala impresario, Merelli, persuaded him to write a third opera. Nabucco (1842) made Verdi famous. He followed the Bel Canto style of Gaetano Donizetti and Vincenzo Bellini. Verdi's best operas were based on plays by Victor Hugo, such as 'Ernani' (1844) and 'Rigoletto' (1851). In 1853 Verdi's masterpiece 'La Traviata' was produced in Venice. It was based on 'The Lady of the Camelias', a play by Alexandre Dumas, fils. At that time Verdi became familiar with the music of Russian composer Mikhail Glinka who was popularized in Europe by Franz Liszt. The music of Mikhail Glinka had certain influence on Verdi's later operas.

In 1861 Victor Emmanuel became the King of Italy in Turin. From 1861-1865 Giuseppe Verdi was elected representative of Busseto in the newly formed Italian parliament. After Garibaldi's military campaign the capital was moved to Florence, then to Rome, and Verdi returned from politics to music. He lived in Milan during the last years of his life. He was revered and honoured all over the world, and was much visited by his admirers. He died on January 27, 1901, in Milan, and was laid to rest at the Casa di Riposo, a retirement home for elderly musicians that was established by Verdi himself.

In 1861 Verdi wrote 'La forza del destino' commissioned by the Imperial Theatre in St. Petersburg, Russia, upon the recommendations by Aleksandr Borodin. It was performed with great success in 1862, and became part of a standard operatic repertoire ever since. His grandopera 'Aida' (1871) was premiered in Cairo as part of the celebrations of the opening of the Suez Canal, and became an instant success. In his later operas Verdi 175th

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Verdi's music was used in hundreds of film scores. His operas has been the staples of operatic repertoire. His canzonas "La donna è mobile" from opera 'Rigoletto' (1851) and "Libiamo ne'lieti calici" (Drinking song) from 'La Traviata' (1853) has been popular concert numbers in performances by the three tenors: Luciano Pavarotti, Placido Domingo, and JosÊ Carreras. 7

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Programme Notes Liber scriptus: the mezzo-soprano's dramatic solo comments on the Book of Judgment, where 'Nil' will remain hidden. There follows a short reprise of the choral Dies Irae. Quid sum miser: a trio for the women and tenor soloists, who ponder on what each individual penitent can plead in mitigation. Rex tremendae: another sudden change of mood as the men’s voices powerfully address the 'Mighty King', while the soloists cry for mercy, Salve me. There is another huge climax for the combined musical forces. Recordare: a duet for the women soloists who seek for grace from 'Jesu pie', and this is followed by Ingemisco, in which the tenor soloist also hopes for pardon after admitting his guilt. Confutatis: the bass soloist prays for mercy after reflecting on the fate of the damned, and this is followed by another reprise of the choral Dies Irae. Lacrymosa: this sequence of lamentations is concluded by a poignant melody sung first by the soloists, and then by all the voices. After a short unaccompanied quartet by the soloists, Pie Jesu, the second movement ends peacefully, in total contrast to its fierce opening. 3. Offertorio: this is scored for the four solo voices and is mainly gentle and restrained in mood. It includes a brief, quasi-fugal Quam Olim Abrahae and a lyrical Hostias. 4. Sanctus: this jubilant section is for double chorus and orchestra. After the opening fanfares and cries of Sanctus there is a lively double fugue, which incorporates the Benedictus and Hosanna. The syncopated final Hosanna has a thrilling orchestral accompaniment.. 5. Agnus Dei: this serene movement is based on a touching melody which is sung first by the women soloists, unaccompanied and an octave apart. The chorus and orchestra add some minor variations before the two soloists return in a minor key, ending in unison on the final Requiem sempiternam. 6. Lux aeterna: this is a delicate trio for the mezzo-soprano, tenor and bass soloists, with light accompaniment. 7. Libera me: the soprano soloist begins the final movement with an intensely dramatic recitative, her words echoed by the muted chorus. As the tension mounts there is a final reprise of the Dies Irae, and after this has subsided the gentle music of the Requiem aeternam appears again, now sung by the soprano soloist and chorus unaccompanied. There follows a robust choral fugue which reaches an exciting climax, with the soprano soloist soaring to a top C. The Requiem ends as it began, with a hushed prayer, Libera me. John Brown

Composition The story of the composition of Verdi's Requiem centres on his admiration for two of Italy's great artists, the composer, Rossini, and the writer, Manzoni. When Rossini died in 1868, Verdi suggested that Italian musicians should unite to compose a Requiem in his honour. Verdi himself wrote a Libera Me, but as his proposal came to nothing he kept the score by him. Alessandro Manzoni, the poet, dramatist and novelist, died in 1873. His great novel, I Promessi Sposi, which spoke directly to emergent patriotism, is still one of Italy's most popular novels. Verdi was too overcome with emotion to attend the funeral, but he visited the tomb, alone, a week later. Verdi then proposed to the Mayor of Milan that he should write a Requiem Mass to honour Manzoni, and he incorporated the earlier Libera Me into the new score. The first performance was given on 22nd May 1874 in the church of San Marco, with the composer conducting. It was such a success that three more performances were given at La Scala Opera, followed by a triumphant European series of concerts in Paris, London, Berlin, Vienna and Florence. Verdi was not a religious man, but like Brahms and Vaughan Williams, his agnosticism did not prevent him from composing a religious work imbued with his deeply spiritual contemplation of life and death. With the musical experience of twenty six operas behind him, Verdi composed highly dramatic music for his Requiem, which many regard as his supreme masterpiece, and which stands alongside other great choral music of the 19th century, Berlioz's Grande Messe des Morts and Beethoven's Missa Solemnis. Huddersfield Choral Society has performed Verdi's Requiem on nineteen occasions, including concerts away from Huddersfield. The Music The Requiem is in seven sections, with the second, Dies Irae, by far the longest. 1. Requiem aeternam: the work opens with a hushed prayer for the dead, but the mood changes when the unaccompanied chorus chants a supplication to God at Te decet hymnus. The operatic quality of the music is soon demonstrated by the dramatic entries of the four soloists in Kyrie eleison 2. Dies Irae: the abrupt bass drum 'thunderclaps' and choral outburst on Dies Irae gives an overwhelming depiction of the Day of Judgment. Trumpet fanfares in the orchestra are answered by others 'from afar' before the men's voices proclaim the 'Last Trumpet' at Tuba Mirum Spargens. The bass soloist solemnly reflects on the terror of this vision at Mors stupebit. 175th

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Vasily Petrenko Vasily Petrenko was born in 1976 and started his music education at the St Petersburg Capella Boys Music School – the oldest music school in Russia. He then studied at the St Petersburg Conservatoire and has also participated in masterclasses with such major figures as Ilya Musin, Mariss Jansons, Yuri Temirkanov and EsaPekka Salonen. Between 1994 and 1997, he was Resident Conductor at the St Petersburg State Opera and Ballet Theatre in the Mussorgsky Memorial Theatre. Following success in international conducting competitions including the Prokofiev Competition (2003), Cadaqués Competition (2002) and Shostakovich Choral Conducting Competition (1997), he was appointed Chief Conductor of the State Academy Orchestra of St Petersburg (2004-07). During recent seasons Petrenko has conducted many key orchestras in Russia including the St Petersburg Philharmonic and the Moscow Philharmonic.

He has made a series of North American debuts, including the Los Angeles Philharmonic, and the San Francisco, Boston, Atlanta, Dallas, Baltimore, Cincinnati and St Louis Symphony Orchestras. In 2011 he will return to the Los Angeles Philharmonic and San Francisco Symphony, and debut with the Philadelphia and Minnesota Orchestras, the National Symphony Orchestra Washington and the Toronto and Montreal Symphony Orchestras. Petrenko has over 30 operas in his repertoire; he made his début at Glyndebourne Festival Opera in 2010 with Verdi’s Macbeth, and has recently conducted three productions at the Netherlands Reisopera and Tchaikovsky’s Pique Dame at Hamburg State Opera. Future plans include his débuts at the Opera de Paris (Eugene Onegin), and Zurich Opera (Carmen). Recordings with the RLPO include a double bill of Fleishman’s Rothschild’s Violin and Shostakovich’s The Gamblers, Rachmaninov’s Symphonic Dances and Isle of the Dead, and a series of recordings for Naxos including Tchaikovsky’s Manfred Symphony (winner of the 2009 Gramophone Award for Best Orchestral Recording), the Liszt Piano Concertos, and the first discs of an ongoing Shostakovich cycle (Symphonies 5, 8, 9 and 11). In 2007 he was named Young Artist of the Year at the Gramophone Awards, and in 2010 he was Male Artist of the Year at the Classical Brit Awards. In 2009 he was awarded Honorary Doctorates by both the University of Liverpool and Liverpool Hope University.

He became Principal Conductor of the RLPO in September 2006; in 2009 his contract was extended to 2015, and he also assumed the title of Chief Conductor. Also in 2009 he was appointed Principal Conductor of the National Youth Orchestra of Great Britain. In recent seasons, Petrenko has made débuts with orchestras including the London Symphony, Philharmonia, Russian National, Netherlands Radio Philharmonic, Oslo Philharmonic and Budapest Festival Orchestras. He has appeared at the Proms with both the RLPO and the National Youth Orchestra, and toured with the European Union Youth Orchestra. Highlights of the 2010/11 season and beyond include his debuts with the London Philharmonic, Orchestre National de France, Finnish Radio Symphony, Orchestre de la Suisse Romande, NHK Symphony Tokyo, Sydney Symphony and Accademia di Santa Cecilia.

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JOSEPH CULLEN Chorus Master

and Ryde where he acts as vocal consultant to the monastic choirs. He has held musical positions in the RC Cathedrals of Glasgow, Leeds and Westminster. Joseph is committed to mentoring young musicians as they emerge onto the professional scene. He has established choral conducting scholarships with both the London Symphony Chorus and the Huddersfield Choral Society and gives masterclasses at the Orkney conductors' course, which is part of the St Magnus Festival, and at the Royal Academy of Music. He has coached many distinguished singers and gives the next generation a platform with his ensemble, London Chamber Voices.

Joseph Cullen is one of this country's leading choral conductors and his work with the London Symphony Chorus has earned him two Grammy awards in recent years. He has been Chorus Master of the Huddersfield Choral Society since 1999 and next year he will conduct them in two performances of Messiah, at Stratford and, on Good Friday, in the Barbican in London. This year Joseph made his dÊbut with the Northern Sinfonia directing a baroque orchestral programme and he has completed a series of concerts featuring Bach Cantatas in the City of London Festival directing the City of London Sinfonia. Joseph has worked closely with some of the world’s leading conductors including Sir Simon Rattle, Sir Neville Marriner, Sir Mark Elder, Mariss Jansons, Valery Gergiev, Michael Tilson Thomas, Gianandrea Noseda, Vasily Petrenko, Yan-Pascal Tortelier, Bernard Haitink, Richard Hickox and Sir Colin Davis. He has appeared as a guest conductor with the BBC Concert Orchestra, Academy of St Martin-in-the-Fields and the Grant Park Festival Orchestra in Chicago. Joseph maintains a national profile as an organist and a continuo player. He has inaugurated many new organs for which he has been consultant for and, this year he gives concerts on new and restored organs in Huddersfield and Paisley Abbey where he was once sub-organist. He has also given the opening recitals at the Benedictine Abbeys of Pluscarden

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Alwyn Mellor Soprano

Patricia Bardon Mezzo-soprano

Born in Lancashire, Alwyn Mellor studied at the Royal Northern College of Music. She began her career at Welsh National Opera, with whom she has enjoyed a fruitful collaboration in a wide range of roles, most recently in the title role of Tosca. She has sung three seasons at Santa Fe Opera and other companies with whom she has appeared include the Canadian Opera Company, English National Opera, English Touring Opera, Glyndebourne Touring Opera, Opera Ireland, Opera North and the Opéra-Théâtre de Limoges.

Dublin-born Patricia Bardon studied with Dr Veronica Dunne at the city's College of Music. Her unique vocal range and versatility have allowed Patricia Bardon to explore a diverse operatic repertoire, becoming established internationally as an operatic and concert force, having worked with many of today's pre-eminent conductors including Mehta, Abbado, Pappano, Jacobs, Eschenbach and Christie. Patricia's Operatic highlights include; title role Tancredi and Arsace Semiramide for la Fenice, Venice. Rosmira Parenope for Chicago Lyric, Vienna and Eno. Title role Giulio Cesare for Liceu, Barcelona. Andronico Tamerlano for Washington DC Madrid, and Amsterdam. Cornelia Giulio Cesare for The Met, Munich Staatsoper and Glyndebourne. Maria Mose in Egitto, Ewidge William Tell, and Baba The Rakes Progress For ROH, Covent Garden. Penelope Ulisse for Amsterdam Berlin Staatsoper Amsterdam and Florence. Carmen for WNO Scottish Opera and Hamburg Staatsoper. In 2009 Patricia was nominated for a Laurence Olivier Award in The Outstanding Achievement in Opera category.

In concert, she has appeared with orchestras including the BBC Concert Orchestra, the BBC Philharmonic, the BBC Scottish Symphony Orchestra, the BBC Symphony Orchestra, the CBSO, the Hallé, the London Philharmonic Orchestra, the Manchester Camerata, the Royal Liverpool Philharmonic Orchestra and the Scottish Chamber Orchestra, as well as internationally with the Bamberg Symphony Orchestra, Orchestra di Padova e del Veneto, the Orchestre National de Lyon, the Orchestre Philharmonique du Luxembourg, the Orchestre Symphonique et Lyrique de Nancy, the Orquesta Simfonica de Barcelona, the Rotterdam Philharmonic Orchestra and the Orquesta Sinfónica de Galicia.

After a début last season for the Los Angeles Opera in Handel's Tamerlano alongside Placido Domingo, Patricia Bardon's operatically diverse current season includes Erda in the new Das Rheingold at the Metropolitcan Opera, conducted by James Levine; a return as Azucena in Welsh National Opera's Il Trovatore, Handel's Rinaldo at the Cologne Opera and La Nourrice in Paul Dukas' Ariane et Barbe-Bleue at Barcelona's Gran Teatro del Liceu, conducted by Stephane Deneve.

She recently made her début as Brünnhilde Die Walküre for Longborough Festival Opera, and her future engagements include Minnie La Fanciulla del West and Sieglinde Die Walküre for Opera North, Isolde Tristan und Isolde for Grange Park Opera, Brünnhilde Siegfried for Longborough Festival Opera and Ortlinde Die Walküre for the Royal Opera, London. In 2013, she appears as Brünnhilde Der Ring des Nibelungen in Seattle Opera's three Bi-Centenary Cycles.

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James Creswell Bass

John Daszak Tenor

James Creswell studied at the Yale University School of Music. Operatic credits include Lodovico Otello (Opera Theatre of St. Louis) and Don Giovanni (Western Opera Theater on tour in the US), Achilla Giulio Cesare, Angelotti Tosca, der Sprecher Die Zauberflöte, Basilio Il Barbiere di Siviglia, Ferrando Il Trovatore, Monk Don Carlo, Titurel/cover Gurnemanz Parsifal and Mayor Jenufa (Los Angeles Opera), Sarastro Die Zauberflöte, title role Figaro, Gremin Eugene Onegin, Hermit Der Freischütz, Handel's Oreste and Rimsky-Korsakov's Le Coq d'Or (Komische Oper Berlin), Salome (Berlin Staatsoper), Rocco Fidelio (Frankfurt Opera) and Masetto Don Giovanni (Ravinia Festival).

John Daszak studied at the Guildhall School of Music and Drama, the Royal Northern College of Music and subsequently at the Accademia D'Arte Lirica (Osimo-Ancona, Italy). In 1996 he was a prizewinner in the prestigious AsLiCo Competition in Milan. Since making his UK operatic début as Steva in Janacek's Jenufa there, John Daszak has worked regularly with English National Opera and has also enjoyed a regular partnership with the Royal Opera House, Covent Garden, Glyndebourne Festival and Welsh National Opera. Increasingly in demand in Europe, John has appeared in Boris Godunov at the Netherlands Opera; The Greek Passion at the Bregenz Festival; Katya Kabanova and Salammbo at the Paris Opera as well as debuting as Loge/Das Rheingold at Valencia's Palau de les Arts under Zubin Mehta, singing Captain Vere, Alwa/Lulu, Aron/Moses & Aron, Prince Galitsin/Khovanshchina and Mephistofeles/Dr Faustus at Munich's Bayerische Staatsoper, Peter Grimes at La Scala Milan and Mephistopheles/Dr Faustus, conducted by Daniel Barenboim at Berlin's Deutsche Staatsoper

Concert engagements include St. John Passion (Deutsche Symphonie Orchester/Nagano), Brahms Requiem in Lisbon and Wurm Luisa Miller, Bach St Matthew Passion, Mahler 8th Symphony (Cincinnati May Festival/Conlon Other engagements have included staged performances of Mozart Requiem (Komische Oper), Kammersänger Intermezzo (Theater an der Wien), Escamillo Carmen (Opera of Bilbao), Rocco Fidelio (Reis Opera) Messiah (Bergen Festival)Timur Turandot (ENO début), Nazarene Salome, Figaro (Bergen Festival), Mahler 8 (Halle/Elder) and Mozart Requiem in Amsterdam.

John Daszak is a frequent and versatile concert performer with a repertoire ranging from Mahler, Symphony No 8 through Rossini's Petite Messe Solenelle. He has also worked with Kent Nagano, Sir Colin Davis, Kurt Masur, Mariss Jansons and Sakari Oramo. Discography to date includes Spoletta/Tosca for Chandos Records and Wagner's Das Rheingold (conducted by Zubin Mehta) on DVD.

Future plans include Zoroastro Orlando for the Komische Opera Berlin, Rocco Fidelio for WNO, King Mark in Tristan und Isolde with the Bremer Philharmoniker, Little Prisoner in House of the Dead and Fasolt in Das Rheingold for Opera North.

Engagements last season included his débuts with Hamburg Opera in Death in Venice, with the Vienna Staatsoper in Moses and Aron and with Frankfurt Opera in Billy Budd. The current season brings two further new productions in Munich of Zemlinsky's Der Zwerg and Messiaen's St Francois d'Assise, as well as a new Wozzeck at the Berliner Staatsoper, conducted by Daniel Barenboim.

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Royal Liverpool Philharmonic Orchestra The Royal Liverpool Philharmonic Orchestra gives over sixty concerts from September to June in Philharmonic Hall, as well as presenting concerts locally and throughout the United Kingdom. The Orchestra has toured to the Far East, the USA and throughout Europe, and has enjoyed a special relationship with Prague in recent years. In 2008 the Orchestra performed at the Prague Autumn and toured North Germany and the Netherlands; in 2010 they performed in Switzerland, Spain and China.

the government’s In Harmony scheme. The Liverpool Philharmonic Youth Orchestra, whose most famous ‘old boy’ is Sir Simon Rattle, also enjoys close links with the Royal Liverpool Philharmonic Orchestra. The dynamic young Russian Vasily Petrenko became Principal Conductor in 2006 and Chief Conductor in September 2009; his contract has been extended until 2015.

The Orchestra is Classic FM’s Orchestra in North West England; this relationship has been extended until 2012. The Orchestra and its new music group Ensemble 10/10 are joint winners of the Ensemble of the Year award at the 2009 RPS Music Awards. In 1998 the Orchestra launched its own recording label, RLPO Live, a venture which has met with a great deal of success. Many RLPO Live recordings are currently being reissued by Avie Records. A complete recorded cycle of Shostakovich’s symphonies, under Vasily Petrenko, is in progress on Naxos. Other recordings by the Orchestra appear on the EMI, Nimbus, Universal and Virgin Classics labels. See www.liverpoolphil.com for the latest releases.

Credit: Jon Barraclough

Members of the Royal Liverpool Philharmonic are involved in a number of innovative community education and outreach projects, including the Orchestra’s series of Family Concerts and

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Requiem Mass PLEASE

NOTE THAT THERE WILL BE NO INTERVAL IN THIS EVENING’S PERFORMANCE

-∞- N o . 1 R E Q U I E M -∞Rest and peace eternal give them, Lord Our God; and light for evermore shine down upon them. Oh God, a hymn becomes Thee in Sion, and vows shall be rendered to Thee in Jerusalem: hear this my supplication, for all flesh shall come to Thee. Rest and peace eternal grant them, Lord Our God; and light for evermore shine down upon them. Lord have mercy, Christ have mercy.

Requiem aeternam dona eis Domine: et lux perpetua luceat eis. Te decet hymnus, Deus, in Sion, et tibi redetur votum in Jerusalem: exaudi orationem meam, ad te omnis caro veniet. Requiem aeternam dona eis, Domine: et lux perpetua luceat eis. Kyrie eleison, Christe eleison.

-∞- N o . 2 D I E S I R A E -∞Day of anger, Day of terror, All shall crumble into ashes, This was David’s revelation. What a trembling shall possess them When the Judge shall come to judgment, Searching all the souls before Him!

Dies irae, dies illa, Solvet saeclum in favilla, Teste David cum Sybilla. Quantus tremor est futurus, Quando judex est venturus, Cuncta stricte discussurus!

-∞- T U B A M I R U M -∞Trumpets sounding loud as thunder Call the buried dead from slumber, To the throne of God Almighty. Death shall marvel, Earth shall wonder, When departed generations Rise again to answer judgment.

Tuba mirum spargens sonum, Per sepulchra regionum, Coget omnes ante thronum. Mors stupebit et natura, Cum resurget creatura, Judicanti responsura.

-∞- L I B E R S C R I P T U S -∞Open lies the book before them, Where all records have been written, When creation comes to trial. Then the Lord shall sit in judgment, What was hidden is uncovered, Naught forgotten, naught unpunished. Day of anger, Day of terror, All shall crumble into ashes, This was David’s revelation.

Liber scriptus proferetur, In quo totum continetur, Unde mundus judicetur. Judex ergo cum sedebit, Quidquid latet apparebit, Nil inultum remanebit. Dies irae, dies illa, Solvet saeclum in favilla, Teste David cum Sybilla.

-∞- Q U I D S U M M I S E R -∞What shall I plead in my anguish? Who will help me, give me counsel, When the just are not acquitted?

Quid sum miser tunc dicturus, Quem patronum rogaturus, Cum vix justus sit securus!.

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With the compliments of

The Wilkinson Building Co., (Leeds) Ltd. Apsley House Leeds Concourse House Telephone: 0113 284 26 31 175th

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Requiem Mass

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-∞- R E X T R E M E N D A E -∞King omnipotent and mighty, King of dreadful power and glory, Thou dost save the true repentant, Save Thou me, Oh fount of mercy!

Rex tremendae majestatis, Qui salvandos salvas gratis, Salva me, fons pietatis.

-∞- R E C O R D A R E -∞Ah, remember, gentle Jesus, ’Twas for my sake Thou didst suffer. On that day do not forsake me. Seeking me Thou wast afflicted, To redeem me by Thy Passion; Let such labour not be useless. Just and upright Judge Almighty, Grant me grace for my atonement Ere the day I stand before Thee.

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. Juste judex ultionis, Donum fac remissionis Ante diem rationis.

-∞- I N G E M I S C O -∞I lament, for I am guilty: And I blush for my wrong-doing: I implore Thee, Saviour, spare me. Thou hast dried the tears of Mary, And the robber won Thy pity, So shall I, too, hope for pardon. My petitions are unworthy, Yet have mercy, do not send me To the fire flaming for ever. In Thy sheepfold let me enter, Do not herd me with the guilty, Set me there upon Thy right hand.

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 hoedis me sequestra, Statuens in parte dextra.

-∞- C O N F U TAT I S -∞When the cursèd all are banished, Doomed to that devouring furnace, Summon me among the blessèd. On my knees I fall before Thee, Sorrow turns my heart to ashes, Grant me grace at my departing. Day of anger, Day of terror, All shall crumble into ashes, This was David’s revelation.

Confutatis maledictis, Flammis acribus addictis, Voca me cum benedictis. Oro supplex et acclinis, Cor contritum quasi cinis, Gere curam mei finis. Dies irae, dies illa, Solvet saeclum in favilla, Teste David cum Sybilla. 175th

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FRONT COVER IMAGE

The Casa di Riposo per Musicisti is a rest home for retired opera singers and musicians. It was founded by Verdi in 1896 and is located at 29 Piazza Buonarotti in Milan. The building was designed in the neo-Gothic style by Italian architect, Camillo Boito. Both Verdi and his wife, Giuseppina Strepponi are buried there. -o-

In the last years of his life, Verdi wrote to his friend Giulio Monteverde . . . ‘ Of all my works, that please me the most is the Casa that I had built in Milan to shelter elderly singers who have not been favoured by fortune, or who when they were young did not have the virtue of saving their money. Poor and dear companions of my life!’

Legacies Including a legacy to The Huddersfield Choral Society in your Will is a practical way to make a lasting contribution to our future. Please help us remain one of the most inspiring and vibrant Choral Societies in Britain for the next generations. The Society is a registered charity, Number 1100851. Enquiries may be directed to the Society’s Treasurer Mr. Adrian J. Lee: -∞72 Benomley Road, Almondbury, Huddersfield, HD5 8LS Telephone: 01484 450321 Email: adrian.lee@huddersfieldchoral.com

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-∞- L A C R Y M O S A -∞Day of bitter lamentation, When man rises up from ashes, Doomed to judgment, lost and guilty, Then, Lord, pity this Thy servant. Blessed Jesus, Christ Our Lord, Saviour, grant them rest and peace. Amen.

Lacrymosa dies illa, Qua resurget ex favilla, Judicandus homo reus. Huic ergo parce. Deus. Pie Jesu Domine, Dona eis requiem! Amen.

-∞- N o . 3 O F F E R T O R I O -∞Lord of Lords, Jesus, Our Lord and Saviour Jesus Christ, King of Kings and King of Glory, free the souls of all the faithful departed from Hell and its torments, and from the soundless chasm. Oh Lord, deliver them from the mouth of the lion, that they may not be swallowed up by Hell and perish in its darkness: but may Michael raise his holy sign and lead them onward into Thy clear light of heaven, which Thou didst promise of old to Abraham and his seed to the last generation. Sacrifice and prayers, Oh Lord, we offer Thee. Hear our prayers, Oh Lord, mingled with songs of praise. Do Thou receive them for those souls departed, whom we this day here commemorate; grant them, Oh Lord, to pass from death into life everlasting, which Thou didst promise of old to Abraham and his seed to the last generation. Oh Lord, deliver the souls of all the faithful departed from Hell and the dark pit, to pass out of death into life everlasting.

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. Hostias et preces tibi, Domine, laudis offerimus. Tu suscipe pro animabus illis, quarum hodie memoriam facimus, fac eas, Domine, de morte transire ad vitam, quam olim Abrahae promisisti et semini ejus. Libera animas omnium fidelium defunctorum de poenis inferni, fac eas de morte transire ad vitam.

-∞- N o . 4 S A N C T U S -∞Holy, holy, holy, Lord God of Sabaoth, Heaven and earth are full of Thy glory. Hosanna in the highest! Blessed is he that cometh in the name of the Lord. Heaven and earth are full of Thy glory. Hosanna in the highest!

Sanctus Dominus Deus Sabaoth, Pleni sunt coeli et terra gloria tua. Hosanna in excelsis! Benedictus, qui venit in nomine Domini. Pleni sunt coeli et terra gloria tua. Hosanna in excelsis!

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-∞- N o . 5 A G N U S D E I -∞Lamb of God, that takest away the sins of the world, grant them rest. Lamb of God, that takest away the sins of the world, grant them everlasting peace.

Agnus Dei, qui tollis peccata mundi, dona eis requiem. Agnus Dei, qui tollis peccata mundi, dona eis requiem sempiternam.

-∞- N o . 6 L U X A E T E R N A -∞Light for ever shine down upon them, Christ the Lord, with all Thy blessed Saints in all ages, since Thou art just and good. Grant them rest and peace for evermore, and let light perpetual shine upon them.

Lux aeterna luceat eis, Domine, cum sanctis tuis in aeternum, quia pius es. Requiem aeternam dona eis. Domine, et lux perpetua luceat eis.

-∞- N o . 7 L I B E R A M E -∞Lord, deliver me out of everlasting death, O Lord, upon that day of terror, when the earth and the heavens shall be shaken. When Thou shalt come and the whole world know the fire of judgment. Trembling, frightened and full of despair am I, full of terror and great fear, till the trial shall be at hand, and the wrath to come. Day of anger, Day of terror, Day of disaster and of misery, Day most fearful, hopeless, and exceeding bitter. Grant them rest and peace for evermore, and let light perpetual shine upon them.

Libera me, Domine, de morte aeterna, in die illa tremenda; quando coeli movendi sunt et terra. Dum veneris judicare saeculum per ignem. Tremens factus sum ego et timeo, dum discussio venerit atque ventura ira. Dies irae, dies illa, dies calamitatis et miseriae, dies magna et amara valde. Requiem aeternam dona eis, Domine, et lux perpetua luceat eis.

Lord, deliver me out of everlasting death upon that day of terror, when the earth and the heavens shall be shaken, when Thou shalt come, then shall mankind know the fire of judgment. Oh Lord, deliver me from death everlasting in that dread day of terror. Save me, O Lord.

Libera me, Domine, de morte aeterna in die illa tremenda; quando coeli movendi sunt et terra. Dum veneris judicare saeculum per ignem. Libera me, Domine, de morte aeterna, in die illa tremenda. Libera me, Domine.

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Choir Members SOPRANO: Margaret Atkinson* Susan Baines Sheila Baker** Jill Bamford Esme Barber Lydia Bayliss Charmaine Beaumont** Jill Benn Patricia Berry* Janet Booth Elly Bosworth Elizabeth Boyle Dorothy Bradbury Christine Broadbent Louise Brown Sarah Brown Colleen Brown Derrianne Byrne Mary Cadwaladr Barbara Carroll Joanna Cole Gwyneth Cooper Rosemary Cooper Eleanor Davies Jenny Ellis Sue Ellis Trish Ellis Linda Fellows Sheila Garside* Katherine Hall Julia Harvey Margaret Henry* Hilary Hibbin Kate Hyland-Collier Caroline Jones Georgia Katsiroumpa Helen Kettlewell Emma Kilroy Fiona Law Elaine Lee* Anne Lockwood Helen Martin Jules Mehten Wendy Moores Cath Murgatroyd 175th

Megan Nelson Pamela Pal Jean Parker* Leah Pattison Carol Randerson* Christine Roberts Katrina Robinson-Brown Jane Sargent* Hannah Saxon Sue Shepherd Thelma Simpson Debbie Skipper Susan Smith Doreen Smurthwaite Nan Steinitz Catherine Stephenson Ruth Stones* Marilyn Sutcliffe Sarah Wickham Denise Wilkes Ann Wilkes Glynis Wilkinson Susan Wilkinson* Mary Wilson ALTO: Ruth Aldred Helen Ashley-Taylor Anna Bailey Thelma Bateman Ann Boswell Barbara Brook* Rowena Burton Sandy Cole** Margaret Collison Jean Collison* Cynthia Daniel** Janet Dransfield* Christine Durham** Winifred Ellis* Janet Gabanski Alison Hale Julie Hale Gaynor Haliday Richard Hallas Andrea Hindson

Pam Hird* Jane Hobson* Sue Hornby Susan Kirby Hilary Laurie Sylvia McGee* Hilary McLean Elizabeth Mortimer Kath Northern* Marjorie Norton* Audrey O'Hara Alison Owen - Morley Jayne Preston** Frances Priestnall Caroline Robinson Jennifer Sanderson Susan Sandford Katie Saunders Vicki Scurrah Eileen Sheller Suzanne Smelt Alexandra Soden Marjorie Swift** Pam Sykes Vera Thompson Anna Thompson Lettice Thomson* Susan Turnbull Sandra Twitchett Alex Vickers Michelle Walker Jean Walters* Rebekah Wheeler Sue Wilman** Jenni Wohlman Glenda Wray TENOR: Michael Benn* Jonathan Brigg Stephen Brook* Tom Chilton David Croft** Malcolm Fairless* Chris Fawcett Graham Fearnley*

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Jeremy Garside Ronald Gee David Gee Malcolm Hinchliffe Roy Hirst Norman Hirst Martin Jenkins Martin Kettlewell Gregory Knaggs Alex Kyle Timothy Lewis** David Lunn Richard Myhill Arthur Quarmby* Philip Ratcliffe Stuart Rudd Gerald Savage Philip Shergold Ian Smith Alan Stephens Charles R. Sykes David Vickers Harvey Walsh David Ward Michael Widdall Tim Wilkes BASS: Richard Ainley Christopher Arnold** David Atkinson Gareth Beaumont** James Blagbrough John Brown* David Burgess Mike Corney Jim Cowell Martyn Crossley* James Curran** Ian Daniel* Peter Dawson P.J. Dodd Granville Dransfield* Raymond Ellis Daniel Fields John Harman

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David Hartley*** David Hoddle Dennis Holmes Keith Horner William Kirby Martin Luke Kenton Mann Andrew Marsland John McGahey Barrie Mortimer Robin Owen - Morley Angus Pogson** Geoffrey Priestley David Robinson Howard Sandford John Sandland Graham Smelt Terry Smurthwaite Paul Spencer Jim Stafford* Alan Stirk Neil Stones Mark Taylor Richard Thompson Lyndon Wilkinson* Barrie Williams Conrad Winterburn**

* Holder of 25 year badge ** Holder of 40 year badge *** Holder of 50 year badge

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Future Concerts Friday 10 December 2010 CHRISTMAS CONCERT Brian Kay Huddersfield Choral Society Junior Choirs Hepworth Band

Friday 1 April 2011 Subscribers' Concert Huddersfield Town Hall MESSAGES - Jonathan Harvey SYMPHONY OF PSALMS - Stravinsky MASS IN E MINOR - Bruckner Conductor Martyn Brabbins

Monday 20 December 2010 The Sage, Gateshead MESSIAH - Handel Conductor Jane Glover

Saturday 22 April 2011 Barbican, London MESSIAH - Handel Conductor Joseph Cullen

Tuesday 21 December 2010 Subscribers' Concert Huddersfield Town Hall MESSIAH - Handel Conductor Jane Glover

Saturday 18 June 2011 175th Anniversary Celebration Concert Huddersfield Town Hall THE DREAM OF GERONTIUS - Elgar Conductor Martyn Brabbins

Wednesday 22 December 2010 Huddersfield Town Hall MESSIAH - Handel Conductor Jane Glover Public concert

Saturday 1 October 2011 Liverpool Anglican Cathedral SYMPHONY No 8 - Mahler Conductor Vasily Petrenko

Saturday 8 January 2011 Royal Shakespeare Theatre Stratford-Upon- Avon MESSIAH - Handel Joint concert with Stratford-Upon-Avon Choral Society Conductor Joseph Cullen Saturday 5 March 2011 Huddersfield Town Hall THE CRUCIFIXION - Stainer Conductor Joseph Cullen

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Recordings

MESSIAH: £8.00

AND THE GLORY

THE CRUCIFIXION: £12.00

A History in Commemoration of the 175th anniversary of Huddersfield Choral Society

THE HYMNS ALBUM: £12.00

OTHER RECORDINGS AVAILABLE: • A Christmas Fantasy • A Christmas Celebration • • Belshazzar’s Feast • The Carols Album •

Available from David Lockwood Telephone 01484 666827 E-mail: David.lockwood@huddersfieldchoral.com

Recordings are on sale in the Area Entrance tonight or can be obtained from:

David Lockwood (Telephone 01484 666827) E-mail: David.lockwood@huddersfieldchoral.com 175th

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£15 plus £3.50 p&p 29

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Recommended Recordings Verdi: Requiem

tradition. The live recording, made over 6 days in January 2009 is impressive, with one or two reservations: the inability of conductors (and record producers) to obtain a pianissimo that conveys intense quiet but that really sounds. In other words if you set the volume at a level that the neighbours can accommodate the first six bars will be inaudible and you may become conscious that the performance has started after bar 7. (Verdi marks the opening pp, which he surely meant to be audible to all but the hard of hearing; not until bar 17 do we get ppp). The other niggle is that it can sound a bit 'engineered' in places with the solo quartet not as well integrated into the whole as could be; admittedly difficult, but it can be done better. Nevertheless recommended with confidence.

Many years ago, as a teenager I came to know Verdi's Requiem and used to quip, rather cleverly I thought, that it was my favourite Verdi opera (not that I knew many others at the time). Decades on it is still one of my favourites along with Don Carlos, Othello and Falstaff. But joking apart, even at the time of the première (1874) the great German pianist and conductor Hans von Bulow could scornfully refer to Verdi's 'latest opera in ecclesiastical dress', a remark which does not altogether miss the mark. It came shortly after Aida (the 26th of Verdi's 28 operas) and whereas Mozart, Cherubini and even Berlioz had each composed his Requiem to be used as part of a service (although all three now have independent lives in the concert hall), Verdi from the first imagined his as a concert work. He was an agnostic and had never held traditional beliefs which around this time were being severely shaken by Darwin and the new science, to say nothing of his own personal tragedy of losing his wife and two children within 5 years. True, it is well known that he asked to have the score of his last completed work, the Te Deum buried with him, but after establishing a confident tone of praise in the first half, this also then moves towards a final note of uncertainty, as if to say that one can only hope and trust without being sure.

Now to complicate matters, four of my 'special-case' favourites. EMI, who have a history of good recordings of the Requiem (with at least five such from the 1950's onwards) made another live recording in Berlin in 2001 conducted by Claudio Abbado. This performance was given to mark the 100th anniversary of the composer's death and the searing intensity probably also reflects the conductor’s own recent brush with mortality. Put simply, this recording from a chorus and orchestra point of view is in the luxury class and it sounds it. The ability of Abbado's three specialist choirs and the Berlin Philharmonic to encompass moments of great, quiet intensity combined with tonal depth, as in the opening Requiem aeternam, and the appropriately awesome entry of the Rex tremendae which is stunning in its weight and depth, are a thing of wonder. This is undoubtedly among the very best chorus work in any of the recordings. Fine singing from the quartet with minor reservations (Gheorghiu is wonderfully dramatic but doesn't do ethereal as well as Orgaonasova for Gardiner or Stader for Fricsay, and Alagna is more passionate that refined, but the mezzo is wonderful) and the recording taken over two concerts is first rate and more convincing as a well integrated sound than the Pappano.

Significantly, after the Milan première in San Marco, there were three further performances at La Scala a few days later where the soprano and mezzo changed from their subdued clothing into blue silk trimmed with white velvet and solid pink respectively. Verdi again conducted, everything was applauded and three sections were encored! After the La Scala performances Verdi took the Requiem to Paris for seven performances at the Opera-Comique which were so successful that his publisher Ricordi arranged a tour for the following spring. Once again in Paris there were seven performances with the French Government making Verdi a Commander of the Legion of Honour. In London he conducted three performances at the Royal Albert Hall with a chorus of twelve hundred! and at the Hofoper in Vienna, four combined with two performances of Aida.

Briefly the other three are those by John Eliot Gardiner with a stunningly augmented Monteverdi Choir and a perfectly matched quartet of soloists (very accurate chorus work, cleanly but spaciously recorded in Westminster Cathedral); Carlo Maria Guilini live at the Proms and well recorded in stereo by the BBC in 1963 with the Philharmonia chorus at its peak; and last but very definitely not least, that by Ferenc Fricsay, recorded by Deutsche Grammophon in well balanced mono, a recording which caused a sensation when it was issued in 1954. It has now been re-issued on a mid-price cd, and with chorus and soloists singing as if their very lives depended on every word and with so many insights from Fricsay, only those needing stereo could fail to be touched by its great musical merits. But the mono recording has some minor limitations and those who understandably want a stereo recording can safely buy Abbado or Pappano (both sold as 2 CDs for the price of one) or the Eliot Gardiner on 2 full-price CDs coupled with the best available version of Verdi's Four Sacred Pieces. I should also mention that there is a DVD version of the Abbado performance with superb sound which is recommended most strongly.

All this preamble serves to put into context Verdi's own attitude to the work and as Andrew Porter writes in Grove he saw his Requiem as the climax of all those scenes, some tender, some terrifying, in which he sought to express his version of suffering, suppliant humanity? A recorded performance needs to convey the Requiem's special qualities. There are now dozens of recordings of Verdi's masterpiece and having reminded myself of the merits of ten of the best of them, I would not like to limit myself to one (easy to say when I don't have to!). It is worth saying at the outset that, all things considered and if you don't want to go comparing (or nit-picking), the safest recommendation is probably the recent EMI recording conducted by Antonio Pappano with the Orchestra & Chorus of the Accademia Nazionale di Santa Cecilia in Rome. It has one of the more consistent and well balanced solo quartets - not always the case in otherwise excellent recordings of the Requiem - and is well played and sung in the Italian operatic Angela Gheorghiu, Daniela Barcellona Roberto Alagna, Julian Konstantinov Swedish Radio Chorus Eric Ericson Chamber Choir Orfeon Donostiarra Berliner Philharmoniker Claudio Abbado EMI 557168-2 (2 for 1)

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Anja Harteros, Sonia Ganassi Rolando Villazon, Rene Pape Orchestra e Coro Dell 'Accademia Nazionale di Santa Cecilia Antonio Pappano EMI 698936-2

If it is any help, after days of listening, the two which still had a tingle factor at the end were Abbado and Fricsay (a great conductor who died aged 49 after a long battle with leukaemia).

Graham D Bennett

Luba Orgonasova, Anne Sofie von Otter, Luca Canonici, Alastair Miles. Monteverdi Choir Orchestre Revolutionnaire et Romantique John Eliot Gardiner Philips 442 142-2 2CD with Four Sacred Pieces

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Amy Shuard, Anna Reynolds, Richard Lewis, David Ward Philharmonia Chorus & Orchestra Carlo Maria Guilini BBC Legends BBCL 4029-2 2 CD with Schubert Mass in E Flat

Maria Stader, Marianna Radev, Helmut Krebs, Kim Borg. RIAS Chamber Choir, Berlin. Choir of St Hedwig's Cathedral Berlin Radio Symphony Orchestra Ferenc Fricsay DG Legends 447 442-2,

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LAURIE HOPKINS MENSWEAR LINDLEY www.lhmw.co.uk

BUY ONE GET ONE FREE Buy any combination of Jacket and Trouser from the Brook Taverner collection and get another jacket and trouser from Brook Taverner absolutely

Will Writing

FREE

Offer includes: Dinner Suits/Evening Jackets, Suits, Jacket/Blazer and Trousers Suits from £169.00 Jackets from £119 Trousers from £45 Why not share this offer with a friend and split the cost between yourselves? Offer ends 16th November 2010 175th

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Joseph Cullen’s choral direction has recently brought glowing critical acclaim and a further Grammy award in 2010 for his work with the London Symphony Chorus.

FRIDAY 18TH FEBRUARY 2011 CHORAL CONDUCTING

Age range 17+, currently involved or interested in choral conducting

His trilogy of CDs conducting the Huddersfield Choral Society is now complete with the issue of The Crucifixion (John Stainer) on the Signum label. He has established choral conducting scholarships with both the London Symphony Chorus and the Huddersfield Choral Society and has twice been invited to give masterclasses at the Orkney conductors’ course in the St Magnus Festival and at the Royal Academy of Music. He has coached many distinguished singers and nurtures the next generation with his small professional ensemble, London Chamber Voices.

Led by Joseph Cullen The University of Huddersfield, Queensgate, Huddersfield, HD1 3DH. Times 14.00-16.00 Cost FREE. Hands-on masterclass with Joseph Cullen, working with the University Chamber Choir and Daniel Gordon (Huddersfield Choral Society Rehearsal Accompanist). Repertoire will include Britten Rejoice in the Lamb. Places for participants limited to 8. Audience members welcome. Bookings by email to: workshops@huddersfieldchoral.com, phone 01484 646 441 Please include a brief CV with your booking.

-o-

Age range – all ages, including boys’ unbroken voices

Workshops for children and young people Bookings for these workshops may be made by teachers only - via Kirklees Learning Service https://insetonline.kirklees.gov.uk Further information will be provided to teachers who have registered for the workshops.

Led by Joseph Cullen

FRIDAY 18TH FEBRUARY 2011

SATURDAY 5TH MARCH 2011 STAINER THE CRUCIFIXION

SING UP FOR THE BOYS!

Huddersfield Town Hall Times 16.00-18.00 Cost FREE. Rehearse the hymns which form an integral part of Stainer’s The Crucifixion The workshop will be followed by a concert performance at 19.30. Refreshments will be available for purchase between the workshop and concert. Workshop participants are eligible for a discount on the concert ticket, if booked by 31st January 2011. Concert ticket booking details will be provided on registration for the workshop.

Led by Thom Meredith

WEDNESDAY 23RD MARCH 2011 CHORAL EXPLOSION!

Led by Sue Hollingworth These workshops aim to inspire young people to sing by showcasing local excellence and promote high quality singing in Kirklees.

Bookings by email to: workshops@huddersfieldchoral.com, phone 01484 646 441 175th

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Serving Industry, Commerce & the Private Client

13 STATION STREET • HUDDERSFIELD • HD1 1LY TELEPHONE (01484) 519519 E-MAIL: mail@baxlaw.co.uk • FAX (01484) 518085

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Huddersfield Choral Society Conductor Laureate . . . . . . . . . . . . . . . . . . . . MARTYN BRABBINS

F R I E N D S

Chorus Master . . . . . . . . . . . . . . . . . . . . . . . . . . JOSEPH CULLEN

‘The Friends of the Huddersfield Choral Society’ was established in 1995 and provides a link with The Society, support of The Society’s activities and benefits for its members.

Deputy Chorus Master . . . . . . . . . . . . . . . . . DARIUS BATTIWALLA Accompanist . . . . . . . . . . . . . . . . . . . . . . . . . . . .DANIEL GORDON Deputy Accompanist . . . . . . . . . . . . . . . . . .MALCOLM HINCHLIFFE Agent: . . . . . . . . . . . . . . . . PATRICK GARVEY (Tel 01904 621222)

OFFICIALS AND COMMITTEE

BENEFITS INCLUDE:

President . . . . . . . . . . . . . . . . .CONRAD WINTERBURN

• Priority booking for Public Concerts at the Town Hall (limited in the case of Public Messiah tickets).

Vice President . . . . . . . . . . . . . . . .JENNY LOCKWOOD General Secretary . . . . . . . . . . . . . . . . . JIM COWELL Treasurer . . . . . . . . . . . . . . . . . . . . . . . . ADRIAN LEE Choir Secretary . . . . . . . . . . . . . . . . DAVID BURGESS Subscribers’ Secretary . . . . . . . . . . . . . . JULIE HALE Sponsorship Secretary . . . . . . . . . . . . .TONY BOOTH Programme Officer . . . . . . . . . . . . DAVID LOCKWOOD Recruitment Officer . . . . . . . . . . . . GAYNOR HALIDAY Publicity Officer . . . . . . . . . . . . . . . . SARAH WICKHAM Librarian . . . . . . . . . . . . . . . . . . . HOWARD SANDFORD Associates Members’ Secretary . . . . . JEAN PARKER Archivist . . . . . . . . . . . . . . . . . . MALCOLM HINCHLIFFE Chairman 175 Committee . . . . . . . JENNY LOCKWOOD

• Subscriber Friends who are unable to attend the ballot given priority in the subsequent allocation of tickets. • Priority on returned tickets for subscription concerts. • Regular Newsletters covering the life of The Society. • Prize Draws. • Discounted recordings of the Huddersfield Choral Society.

Members’ Representatives Janet Booth David Croft Hilary McLean Barrie Mortimer Jane Sargent Vicki Scurrah Mark A Taylor Sue Turnbull

The cost of membership of The Friends is £18 joint membership, £12 single membership. Further details and an application form can be obtained from:

Subscribers’ Representatives Helen Marshall Cynthia Pratt Honorary Life Members Mr. R. Barraclough DL Mr. H. Clough Mr. D. Hartley Mr. J. D. Haywood DL Mr. K. Rothery Mr. G. Slater

Cynthia Pratt Chapel House, Slant Gate, Highburton, Huddersfield HD8 0QN Telephone: 01484 600352

HUDDERSFIELD CHORAL SOCIETY PO Box B30, 35 Westgate, Huddersfield HD1 1PA Telephone: 01484 536986 www.huddersfieldchoral.com

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Designed and Produced by Hayes Design & Media 07900 277889

REQUIEM VERDI

2010 - 2011 Season


Verdi - Requiem