Tagged: classical music

Music for the Masses

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Our part of the score, with my annotations above the score line on how it should be performed on the day.

My head is still stuffed with the most wonderful music today, so it’s time to take a break from my usual bloggage.

On Sunday I sang the chorales in Bach’s St John Passion at the Wiltshire Music Centre in Bradford on Avon, as part of a project put together by English Touring Opera (ETO). Our performance was reviewed in The Guardian yesterday, which has kept the music in my head and the good feelings going well into today.

I must admit I was a bit daunted at first. I can’t read music, it’s a challenging piece, and it’s not the kind of thing I usually perform or listen to. However, the WMC Choir component was a scratch choir, so there would be plenty of people like me there. It was too good an opportunity to miss.

Can a scratch choir perform to the standards expected by ETO with just four rehearsals? It seems we can, as long as you do your homework. There were practice tracks to sing along to courtesy of Cyberbass and the whole thing is available on YouTube. The latter looks like a classical music version of karaoke, with the various components of the score moving along to the music, and a translation line running underneath.

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Scrolling version of St John Passion on YouTube – this is the opening chorus, Herr, unsere Herr. The left shows the sung parts, the middle is the strings and organ, and the right is the other instruments.

The first three rehearsals with Mike were fun and full of laughter, especially when he demonstrated correct breathing with the aid of a squeezy tomato sauce and lemonade bottles. They were a stretch for me, particularly when some of the pauses in the score were crossed out, but doable. Our role in the chorales was to be the ordinary people commenting on proceedings, and so ETO had our pieces translated into English by the likes of John McCarthy, Rowan Williams, John Sentamu and Marina Warner.

The fourth rehearsal on Sunday was with ETO and my first experience of performing with classically trained musicians. Jonathan Peter Kenny, the conductor, gave us no quarter despite having an imperfect piece but with a huge chunk of soul in mind. This would take the performance back to Bach’s original intention, when it was sung in church as a community witness of faith with the congregation singing the chorales. It truly is a piece for the masses rather than the hoi polloi, but that didn’t mean a sloppy performance was expected of us.

“You sang beautifully, but it might have been in Zulu, which I can’t understand”, was a typical remark from him. I giggled at this point as I have sung in Zulu. “Remember, text, text, text. I want the audience to hear what you’re saying and be involved with the performance, yes? Look at them and draw them into the piece.”

He was also a very dramatic and energetic conductor, roaming amongst us during the rehearsal and we took bets on whether he might fall off the stage later that evening. Sadly, he was a little more restrained in the performance.

The opera singers were a revelation. As a soprano I was drawn to Susanna Fairbairn’s technique. I noticed she relaxed and bent her knees slightly for the trickier parts of the score, and when she stood next to me, I could hear her emphasis on the consonants like ‘b’ and ‘p’. It sounded like she was spitting them out. As for mezzo-soprano Katie Bray, I never knew so much sound could be expelled from so tiny a frame.

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Part of the running order, with our instructions for when to sit and stand without making a noise.

As for the performance, for me it was extraordinary, even though we weren’t dressed up for the occasion. The opening chorus was so loud, I thought it was going to raise the roof. The orchestra – the Old Street Band – played period instruments and had quite a different sound, which to my ears added grandeur to the piece.

I was particularly struck by the lute with an enormous neck, which is called a theorbo. I also spoke to one of the flute players during the interval. Hers was a wooden, less complicated instrument compared to today’s, like a cross between a flute and a recorder. She told me it’s her favourite instrument to play and the silver rings are purely for decoration. It seems even musical instruments can have a bit of bling.

At the end everyone was in tears – choirs, audience, orchestra, and our conductor. As I left the building to come home, I overheard a couple of the audience say “That was amazing!” That’s a good enough review for me.

A lot is written about the inaccessibility of opera. The cost of tickets is high, you need to dress for the occasion, and it’s usually sung in a foreign language. I’m glad those criticisms – and my preconceptions – were blown apart by this amazing project. Around 30 local choirs will be involved in the tour around the country, including a gospel choir. I’d love to hear that.

Originally posted by Michelle Chapman
Member of the Wiltshire Music Centre Chorus and author of Veg Plotting
Twitter @Malvernmeet

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Intern on the Inside: Towards an Unknown Port

This is an exciting term for the year 5s at St Mary’s and St John’s Primary School in Barnet. They are one of the lucky groups singing alongside ETO in their Autumn tour. In 3 weeks’ time they will be on stage at the Royal Opera House, Linbury Studio Theatre, and today rehearsals are getting into full swing.

Towards an Unknown Port is a song cycle composed by Helen Chadwick to be performed as a response to The Emperor of Atlantis.  For this exciting new community project, lyrics have been taken from poems written by children in Terezín concentration camp alongside children’s accounts of the Balkans war. These haunting words have been set to beautifully lyrical melodies and the children, teachers and ETO are working together to stage this brand new work. Continue reading

Albert Herring rehearsals, week one

Photos by @VerityBramson

No Red Herrings: Balance and “Bananarmageddon”

Day two of rehearsals for ETO’s autumn production of Britten’s Albert Herring. Act 1, Scene 2. Herring (Mark Wilde), disillusioned by the monotony of a life working in the grocer’s is about to be interrupted by Emmie (Erin Hughes), entering in a whirlwind of hormones and non-sensical rattling.

I am particularly struck by the fluid approach that the whole Herring team have towards the rehearsal process. Balance is key: friendliness and professionalism, a relaxed atmosphere tempered with the utmost efficiency. Neither pushy nor dictatorial, the strength of Chris Rolls’ directorship lies with his ability to take inspiration from the intuitive reactions of his talented cast: A-Level-fresh Hughes absentmindedly plaiting her hair during a moment of respite prompts a “Girls in Topshop” characterisation of Emmie. Rolls is also very aware of the indications for gesture and emotion inherent in Britten’s score, and the intelligent cast never miss a beat (if you’ll pardon the pun) when picking up on the composer’s intentions. Continue reading

“Three men dwell on Flannan Isle to keep the lamp alight…”

Rehearsal pictures by @hanburyrebecca

Intern on the inside: the story of a lighthouse

Having just graduated from Bristol and feeling somewhat bereaved at the loss of my student days, ETO has thrown me a lifeline and welcomed me right into the heart of their opera-making process. I am going to spend the next couple of months observing rehearsals and cornering the creatives behind ETO’s autumn season to try and work out exactly what makes their productions tick. Artistic Director James Conway has opted for a season of daring modern opera and this week’s rehearsals of The Lighthouse are getting into full swing.

One of the most exciting things about The Lighthouse is the real life mystery that hangs over the action. The suspicious disappearance of three lighthouse keepers in the winter of 1900 remains an unsolved mystery. Peter Maxwell Davies’s score is a response to this enigma. Here, Max discusses this extra-ordinary occurrence. Continue reading

Choosing the operas for the autumn 2012 season

As I speak at opera and music club meetings around the country, I am often asked ‘How do you choose the operas?’, or even ‘Why did you choose those operas?’

They are good questions. Each season I have to remind myself of how the choices were made, inasmuch as they were made two or three years ahead at least. So now I am reminding myself of why I have chosen these remarkable, different, infrequently performed operas in autumn 2012.

Initially I always ask myself ‘Have we a fighting chance of doing this opera particularly well?’

This means looking at the orchestration (in these three cases, we can perform them exactly as written; for bigger operas, we would need to find an orchestra arrangement that had merits of its own), at the singing roles, and at the scenic demands. Availability of suitable artists is checked long in advance – and in our case we are looking for two singers for each role, because in our long tours it is very likely that understudies will go on. So you have to make sure you have not just one excellent Queen of the Night in the company, but two! Continue reading