Mass appreciation

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TCS with Truro Symphony Orchestra at Truro Cathedral, Saturday, 23rd April 2016

Beethoven’s “Hallelujah Chorus”…. no, not a misprint – he really did write one as the finale of a now neglected oratorio, and Truro Choral Society President Michael Galsworthy had suggested that TCS might perform it, so they did! Augmented by Cornwall Youth Choir and Truro School Chamber Choir (nearly 200 voices altogether), plus the usual splendid orchestra, they gave a rousing start to this mostly Beethoven evening.

TCS has recently made a feature of showcasing outstanding local young musicians, and Truro School sixth-former Ellie Sullivan’s performance of Schumann’s Abendlied, arranged for oboe and orchestra by musical director Martin Palmer, was an exquisite “song without words” in her last Truro concert before entering the Royal Academy of Music.

Probably the best-known of all symphonies, Beethoven’s Fifth, directed by Palmer, ended the first half of the programme in an inspiring performance, from the famous opening chords, via a warmly lyrical slow movement with glorious lower strings, to a spirited Scherzo and triumphant finale – a real emergence into daylight.

Dating from the same period as the Symphony, but inevitably overshadowed by the later Missa Solemnis, Beethoven’s Mass in C requires the chorus to sing almost continuously for long sections and express many different moods – devotional in the Kyrie, thrilling in the Gloria, with a concluding Agnus Dei contrasting anxiety and expectation punctuated by lyrical horn calls. A strong solo teamsoprano Cheryl Rosevear, alto Shelly Coulter-Smith, tenor Paul Martyn-West and bass Charlie Murray – blended well together, particularly in the Benedictus. Palmer’s direction made a good case for a neglected work, and the chorus still had enough energy left at the end to reprise the “Hallelujah” from the start of the evening, to great acclaim from the large audience. A fascinating and most enjoyable evening.
Judith Whitehouse, West Briton


Messiah at Truro Cathedral

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Martin Palmer with Felicity Turner and Imogen Hancock

“What is the collective noun for Messiahs? There seem to be a lot of them around at this time of year! This was probably the largest I’ve heard for some time, with the massed ranks of Truro Choral Society augmented by the choirs of the three local senior schools – over 200 voices in all. Rehearsals must have been fun.

It’s always good to welcome back David Webb, and his ‘Comfort ye’, expressive and judiciously decorated, set the tone for a vigorous interpretation – bass George Humphreys (also currently in Jonathan Miller’s production of The Mikado at the Coliseum – such versatility!) gave the heavens a really thorough shaking, and mezzo Felicity Turner’s dramatic ‘refiner’s fire’ was equally spirited. Cornish soprano Lydia Mee, in her debut with TCS, was understandably a little hesitant at first, but grew in confidence, her performance culminating with a radiant ‘I know that my redeemer liveth’.

Martin Palmer’s direction of the large choir produced some fine effects – a sprightly ‘For unto us’, and a splendid sequence of five vividly contrasted choruses in Part Two, interspersed with Felicity Turner’s exquisite ‘He was despised’ and David Webb’s clear narrative passages. The chorus coped well with some brisk speeds – ‘Hallelujah’ almost too fast – and were rock-solid in their many fugal episodes. As always, great orchestral accompaniment, with the added bonus of harpsichord (Joseph O’Berry) plus chamber organ (Luke Bond, who also sprinted upstairs to the Father Willis for extra volume).

I always moan about items being cut, but appreciate the need – two and a half hours plus interval, otherwise – but Part One really does need to end with a chorus, and it didn’t (lose half a star for that!). I always miss the ‘middle bit’ of ‘The trumpet shall sound’ – no one ever does it – but what a treat it was to hear George Humphreys and solo trumpet Imogen Hancock. The trumpets were back at the periphery for the final chorus, which sounded simply glorious, with a truly massive crescendo and deceleration at the close that shouldn’t have worked but did – ‘Amen’ to that!”
Judith Whitehouse, West Briton

Lydia Mee

Lydia Mee

Felicity Turner

Felicity Turner

David Webb

David Webb

George Humphreys

George Humphreys

 


End of Season 2014/15

A big thank you to Paul-Ethan Bright for his below review of our concert in Truro Cathedral, on Saturday, 13th June (which also appeared in the West Briton). The programme consisted of Rachmaninov’s Bogoroditse Devo, conducted by James Orford; Rachmaninov’s Piano Concerto No 2, soloist Paul Comeau; and Sir Michael Tippett’s A Child of Our Time, with the four soloists joining us from Royal Academy of Music. Truro Choral Society Music Director Martin Palmer conducted the latter two items. (For our preview, published in the West Briton on 4th June, head here.)

“A rather introspective programme was presented by Truro Choral Society and Truro Symphony Orchestra, a Rachmaninov first half followed by Michael Tippett’s secular oratorio, A Child of Our Time.

“The choir opened with Bogoroditse Devo, the last movement of Rachmaninov’s famous Vespers, a setting of Ave Maria. This first item was conducted by Truro Cathedral’s organ scholar, James Orford, making his directorial debut. The chorus were supported by the string section, giving the sound an extra luminosity. Orford’s simple yet definite conducting allowed the music to speak for itself without any fussiness unbecoming of the piece, while the choir’s diction of the Russian text spoke well into the Cathedral acoustic.

“All change at the front for the second item, Rachmaninov’s C minor second Piano Concerto, as Martin Palmer took the stand alongside the soloist, Paul Comeau. While the second movement is probably the most familiar (a favourite of Classic FM Hall of Fame, no less), this performance showed us that the whole work is just as approachable – the opening Moderato: allegro finds the piano sounding out the deeps before the orchestra joins, more or less taking the spotlight away from the soloist before a majestic climax that restates the initial theme, taking us to the sparkling cadenza. Comeau was surely in his element here, at turns deftly maintaining his part in the orchestral texture, before blazes of sheer virtuosity, relayed throughout the Cathedral via the cameras so those further back wouldn’t miss out – a real delight!

“The second movement, the Adagio sostenuto, was a super-smooth episode of pure romantic relaxation, with eloquent solos from flute and clarinet. The finale, the Allegro scherzando, allowed for more dramatic elements to surface, balanced by the lyricism of the orchestral woodwinds, before building tension considerably to the final cadenza – Comeau once again holding the attention of the entire Cathedral.

“What elevated this performance, for me, was not just Comeau’s undeniably sublime playing, or Palmer’s well-mannered and sympathetic conducting, but the communication between the two of them, giving the concerto a calm, collected air. A rousing ovation followed, with plenty of well-deserved cheers for Comeau, a real local hero on Truro’s musical scene.

“As the programme reminded us, A Child of Our Time ‘…can never be comfortable’; a deeply personal statement by the composer conceived as a musical protest. The atmosphere was electric from the opening chords, with Palmer’s clear direction inspiring the choir to come in confidently on some exceptionally difficult leads. The young team of soloists added to the mood, their voices commanding in their own right, yet blending well when together. The five Negro Spirituals were particularly moving, Steal Away as a stand-out triumph, with a beautiful, sustained tone from the soprano soloist.

“While this concert’s programme was more inward-looking than one might usually expect from Truro Choral Society, they acquitted themselves with a dignity befitting the music during another evening of exciting music making.”


In addition, we received these kind words from Michael Galsworthy, President of Truro Choral Society, in the week following the concert:

“I greatly enjoyed the TCS concert on Saturday evening and thank you so much for introducing me to the choir members beforehand. As I said, I count it a great privilege to be the TCS President and will continue to support as many concerts as I can when I am not in London.

“In the meantime, my warmest congratulations to the TCS for the performance of the Rachmaninov Bogoroditse Devo and also Tippett’s A Child of Our Time. I thought the performance of the Rachmaninov piece was really excellent and delivered with great sensitivity. The Tippett is of course both complex and, from a singer’s point of view, more demanding, but again my congratulations to everyone for their performance.”


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Paul Comeau in rehearsal

Soprano Lorena Paz Nieto

Soprano Lorena Paz Nieto

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Mezzo-soprano Claire Barnett-Jones

Alexander Bevan - Tenor

Tenor Alexander Bevan

Christopher Dollins - Bass

Bass Christopher Dollins

 


“Precise dynamic contrasts…”

Thanks to Judith Whitehouse for her highly enjoyable review, below, of our performance of Rossini’s Petite Messe Solennelle, which also appeared in the West Briton. The concert was held in Truro Cathedral on Saturday, 21st March, and we were joined on the day by Truro School Chamber Choir, Truro School Choral Society and Cornwall Youth Choir, who had all rehearsed the piece separately. For our preview, which also appeared in the West Briton, head here.

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Paul Comeau at rehearsal

“How do you like to spend your birthday? For Martin Palmer the answer is conducting Truro Choral Society plus two of Truro School’s choirs and the Cornwall Youth Choir — almost 200 voices in all — in Rossini’s Petite Messe Solennelle at Truro Cathedral.

“But first, he was given a present — the composer/pianist Paul Comeau, inspired by the coincidence of Palmer and JS Bach sharing a birthday (Bach’s 330th), produced a set of variations for piano and organ on Happy Birthday, played by himself and Cathedral Organ Scholar James Orford. I’m pretty sure it started with The Pink Panther, proceeding via I Do Like to Be Beside the Seaside and similar classics, culminating in a pastiche of Tchaikovsky. I thought I’d written them all down, but have mislaid my Chopin Liszt! Needless to say, great fun was had by all.

“You don’t expect fun in a solemn mass, but Rossini had other ideas — from the decidedly jaunty introduction on piano and organ (the Cathedral Father Willis impersonating the specified harmonium) the massed voices entered into the spirit of the work with precise dynamic contrasts and splendid intonation in the unaccompanied passages. The overtly operatic mood of the Gloria introduced the soloists — soprano Cheryl Rosevear and mezzo Rebecca Smith blending ravishingly in their duet, bass Mark Williams powerful and dramatic, and tenor Anthony Mee in full ‘divo’ mode in Domine Deus, with irresistible Tiptoe Through the Tulips accompaniment from Comeau.

“Palmer’s direction made the most of Rossini’s idiosyncratic blend of genial exuberance and underlying devotional commitment, and the singing remained fresh, even in the excessively protracted Amens — 24 pages of them! The chorus also blended well with the soloists — the Sanctus and Agnus Dei fittingly displaying a more serious mood. Splendid accompaniment throughout, even though Comeau and Orford couldn’t even see each other, adding to the mix of dignity and daftness that Rossini obviously intended — if only he’d cut some of those Amens!”
Thanks also to Sarah Griffiths Photography for these photographs. To see the whole album, visit our Facebook page.

James Orford

James Orford

Mark Williams

Mark Williams

Anthony Mee, tenor

Anthony Mee

Cheryl Rosevear, soprano, and Rebecca Smith, mezzo

Cheryl Rosevear and Rebecca Smith

 

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Christmas celebrations

IMG_7097After the hugely enjoyable performance of the Coronation Mass, Music Director Martin Palmer moved swiftly on to focus the choir on preparing the Christmas programme for the December concerts to be held at St Piran’s RC Church, Truro, and Eden Project. Along with a beautiful selection of carols, including the Sans Day and Coventry Carol, and a couple of our favourite movements from the Messiah, Palmer also picked the Spirituals by Tippett. A collection of eight-part works, the Spirituals required careful rehearsal and members were very pleased to be able to give a worthy performance of them on 19th December at St Piran’s. Accompanying us were Truro Symphony Orchestra and four impressive young soloists: James Orford, the current TCS accompanist and Truro Cathedral organ scholar; Paul-Ethan Bright and Charlie Murray, who are both members of Truro Cathedral Choir and have performed as soloists with TCS in the past; and Eleanor Sullivan, who not only delighted with her beautiful soprano voice but also gave an exquisite recital of Mozart’s Oboe Concerto.

10888436_840571965985494_901391932721206232_nAnother big part of the evening was our decision to be part of CLIC Sargent’s Cornish Christmas Countdown, and a collection was held during the interval and at the end, raising the fantastic amount of £650. CLIC Sargent provide clinical, practical and emotional support to children and young people who have been diagnosed with cancer. Thanks to their work, Cornish families have access to free self-catering accommodation at the charity’s Home from Homes in Bristol, allowing them both to stay close to their child receiving treatment and to stay together as a family. The charity also provides funds for two specialist CLIC Sargent nurses and three social workers across the county to support those affected by cancer at home; in 2013, they were able to help 74 Cornish families. For further information on the charity’s work and how to donate, visit www.clicsargent.org.uk.

The morning after the concert, a smaller version of the choir, the orchestra members and the soloists headed to Eden Project to do almost exactly the same thing all over again, in the relaxed and beautiful setting of the Citrus Grove in the Mediterranean Biome. Listeners perched on low, whitewashed walls by nascent vines or knelt on rugs nearby, and birds once again joined in with the performance – “It was wonderful to hear the music and voices rising up round the biome,” a visitor told us afterwards.

Returning after the Christmas break, we welcomed a representative from CLIC Sargent to our first rehearsal, where we were all delighted to be able to hand over a cheque for the £650 that had been raised on 19th December. And the West Briton and EnjoyTruro.co.uk kindly recorded the handover.

A perfect way to wrap up 2014.

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CLIC Sargent volunteer representative Katie Wild receiving the cheque for £650 from TCS


Drayton, Mozart and Pascoe

After our cathedral concert on Saturday, 15th November 2014 – a mixed programme of works by Mozart and the Cornish composers Paul Drayton and Russell Pascoe – we were delighted to have a condensed version of Judith Whitehouse’s review included in the West Briton’s What’s On pages. For the full version, read on below:

Frances Eagar

Frances Eagar

“I can hardly believe two years have passed since Truro Choral Society celebrated its 50th birthday in 2012 with commissioned works from our great local composers Paul Drayton and Russell Pascoe. Drayton’s Orpheus made a rousing start to this concert with its atmospheric fanfares, and displayed the composer’s and performers’ dexterity in combining the two main themes.

“Now that Truro Cathedral has a decent concert grand piano, it will be a pleasure to hear some of the great works of the concerto repertoire. Remembering Frances Eagar’s marvellous Beethoven 3 at Newquay, it was no surprise that her interpretation of Mozart’s D minor concerto, with its pre-echoes of Beethoven (including his monumental first movement cadenza), was full of rhythmic drama, making the most of the darker side of the opening, contrasting the serenity of the slow movement while avoiding excessive sweetness, and giving real dynamic passion to the finale. The orchestra, directed by Martin Palmer, were a perfect foil to the soloist, with some particularly gracious wind playing to lighten the mood towards the end.

“If the Mozart concerto hinted at Beethoven, there was more than a hint of opera in his Coronation Mass – a touch of Cosi in the solo passages of the Kyrie to contrast with the solemnity of the chorus made a fine start, followed by a powerful Gloria and evangelic Credo, jubilant Osanna and ravishing Benedictus – the young team of soloists, the soprano Saffron Jones, countertenor Paul-Ethan Bright, tenor Gianluca Paganelli and bass Charlie Murray, blending well. And it was briefly back to the opera house for the Agnus Dei, cheekily ‘borrowed’ from Figaro and sensuously delivered by Jones, with the chorus reprising the opening at double speed with a real sense of joy. Those of us who attend cathedral services are familiar with this setting used liturgically – it’s a great pleasure to hear it in all its dimensions and in such an idiomatic performance.

“And for the finale – what more appropriate than Pascoe’s Music!? I remembered to listen for the tambourine and triangle this time, and there they were – to repeat what I said at its premiere, the combination of simple lyrics and authentically rollicking performance is irresistible. Another splendid evening from Palmer and Truro Choral Society – and some particularly exciting ones to come next year.”

Russell Pascoe and Paul Drayton

Russell Pascoe and Paul Drayton

Saffron Jones and Paul-Ethan Bright

Saffron Jones and Paul-Ethan Bright

Gianluca Paganelli and Charlie Murray

Gianluca Paganelli and Charlie Murray


Meet our new accompanist

IMG_6728For the past couple of years, we have been lucky enough to have as our accompanist the current organ scholar at Truro Cathedral, a position that is recruited annually. Having given the most recent incumbent, James Orford, a couple of weeks to settle in, we caught up with him to talk music making, moving to Cornwall and Mozart.

At only 18, James already has a selection of letters after his name (DipABRSM ARCO) and an impressive resumé. Ready…? Before he arrived in Truro he was organ scholar at Dulwich College for four years, as well as assistant organist at St Mark’s Church, Bromley, positions that have taken him – both as organist and singer – to many cathedrals around the UK and Ireland, including Salisbury, Hereford, St Paul’s and Westminster. He has also performed twice at the Royal Festival Hall: once as part of the London Organ Day in February 2013 and then, a month later, as the organist in a joint-schools performance of Mahler’s 8th Symphony. An accomplished tenor, too, he last year toured with Dulwich College Chapel Choir around key sites in and around Paris, including the Eglise de la Trinité, the American Cathedral and Chartres Cathedral, and within weeks of arriving in Truro was stepping in to perform with the cathedral choir when they have ended up a man down.

Life seems good at his new digs right by Truro Cathedral. He has an enviably easy commute to work, which also means he can practise into the early hours if he so wishes – and of course he does wish, even sheepishly admitting that he probably is too hard on himself sometimes. However, the combination of immersing himself within cathedral life and the odd surfing foray to Porthtowan and Perranporth at least means that he hasn’t had the chance to miss home yet or the hustle and bustle of London.

Within the few weeks James has been rehearsing with Truro Choral Society, he has hugely impressed the singers and our Music Director with his agility at the keyboard and his knowledge, so it wasn’t surprising to hear that he first chose to sit down at a piano as soon as he could walk to the stool. His move to the organ didn’t come until the ripe old age of 11, although his fascination with the instrument started much earlier: he remembers sitting in his pushchair in front of the one at his local church in Bromley and being entranced by the noise that was coming out around him, the three huge keyboards and all the pedals. It was the beginning of a love that would lead to him receiving his ARCO Diploma last summer, achieving high marks in his performance exam, and we imagine, much more in the future – applications to study at the Royal Academy and the Royal College of Music next year have already gone out [Update: he has been awarded a scholarship to the Royal Academy of Music!].

James has previously held accompanist positions with four ensembles, including Lewisham Choral Society and Ashtead Singers, so it’s easy to understand how he seemed so comfortable straightaway with a large choir such as ours. He has enjoyed our friendly welcome and the pleasant atmosphere at our rehearsals, and is looking forward to our forthcoming programme for 2014/15, commenting that he is “in love with the Spirituals” that we have planned for our Christmas concerts. His eyes also light up when he mentions his “musical god”, Bach, but when the subject of Mozart comes up he hesitates… “I feel he didn’t always live up to the immense potential that he had, potential that is evident in pieces such as the Coronation Mass and others – C Minor Mass, Jupiter Symphony… I have reservations that he may just have sometimes been churning pieces out because he had to.”

We look forward to hearing more from James over the next year and imagine we’ll be hearing a lot more about him after his time spent in Truro.


Messing about on the water

After a jam-packed season that saw us give six separate performances – at venues including the new Sir Ben Ainslie Sport Centre at Truro School, Eden Project and of course Truro Cathedral – Truro Choral Society members and guests headed to the water on 17th June for the choir’s summer party. Accompanied by herons and a beautiful sunset, we headed up the Fal to the Carrick Roads and back, enjoying drinks and pasties as we went. Many thanks go to our tireless social secretary Dee for organising the evening, as well as for making sure we are always able to have refreshments during our rehearsal breaks throughout each term. Rehearsals for Season 2014/15 start again on 9th September – come and join us, either as singer or audience member, for another superb selection of music. Now, did somebody mention A Sea Symphony…?


Mass enjoyment of Verdi

On Saturday, 7th June 2104, almost exactly 140 years after its first ever performance, Truro Choral Society sang Giuseppe Verdi’s spectacular Requiem in Truro Cathedral. Originally conceived by Verdi to be a joint tribute by all the leading composers in Italy to Rossini after his death in 1868, the work didn’t see completion – by Verdi only – until 1873, following the death of the Italian poet and novelist Manzoni. Its premier was held in Milan on May 22, 1874. With its soaring melodies, dazzling orchestration and moments of mesmerising intensity, this spine-tingling masterpiece contains every ingredient necessary – passion, drama and redemption – for a thrilling evening of music.

It’s an extremely popular piece with singer and audience alike and many, including the celebrated Cornish composer and TCS friend Russell Pascoe, feel it should be performed as often as Handel’s Messiah. Brahms himself described it as a “work of genius”. For its 2014 Truro performance, under the inexorably deft music direction of Martin Palmer, the 160-strong choir and Truro Symphony Orchestra – which included four off-stage trumpeters up in the gallery – first enjoyed a relaxed and uplifting rehearsal during the afternoon. Joining in on the act, and with timing as perfect as the chorus and musicians themselves, was the sun, which streamed through the cathedral’s higher stained-glass windows during Et Lux Perpetua, bathing Choir 2 in a beautiful light. It augured well.

And indeed the performance before a packed cathedral was exhilarating for all involved and extremely well received. There was even cheering. Our mezzo-soprano soloist said, “The orchestra are so musically sympathetic – very, VERY rare – and the chorus were absolutely fabulous.” A few days later, the music critic Eric Dare, while talking to our chair Susanne in passing, praised the choir’s unaccompanied singing as being “completely in tune and together, finely balanced – an almost-impossible feat with so many voices involved”.

Special thanks go to our wonderful, hugely experienced soloists – Susanna Spicer, mezzo; Mark Chaundy, tenor; and Adam Marsden, bass – who exponentially enhanced the experience from the moment they stepped up on to their dais in the afternoon. We were especially grateful to Cheryl Enever who stepped in as soprano only days before concert day, after Claire Seaton sadly had to pull out due to family circumstances. Cheryl said afterwards that she was happy to have been able to do so as she would never tire of singing this work. She also confided, “I’ve never sung with a choir who performed better than this evening. It was so good.”

Thanks also to the classical musician and writer Jake Barlow for his in-depth review of the concert:

“Truro Cathedral is a top-notch place for putting on a concert, and when I found out that Verdi’s religious masterpiece would be making an appearance in that beautifully vaulted nave, it would have been foolish not to go.

“The celli opened the proceedings beautifully, setting the scene with solemn and broad strokes. The choir’s following entry was clear and rhythmically crisp, and they came into their own during the ‘te decet hymnus’ passage – the flowing Renaissance-inspired counterpoint flowed and was musically sensitive. The first appearance of the soloists was strong, but it was the entry of the Soprano and Mezzo that really stood out – beautiful, effortless singing that was an absolute delight for the ears. The first time that all of the musical forces came together, the balance of the sound was very good. It must be said that the musical balance was brilliant throughout, with no musical force needing to fight for dominance, making for a very enjoyable listening experience.

“The opening of the Dies Irae, perhaps the most famous in the classical repertoire next to that of Mozart in his own setting of the Requiem Mass (given how Verdi went about preparing to compose his score, it’s easy to see where some of his fire came from!), was violent, furious, and passionate – fantastic! Not only that, but whenever the entry material came back, it gained more life and energy, avoiding completely the danger of deflating. Among the other highlights of the Dies Irae section (one of the longest, as Verdi splits it into 10 movements) were the brass fanfare, which was sonorous yet balanced, and the Liber Scriptus, a solo movement for the Mezzo and orchestra with choral accompaniment. Mezzo soprano Susanna Spicer’s performance was nothing short of world class, and reminded me why that is one of my favourite oratorio movements both to sing and listen to.

“Throughout the rest of the work, the choir sang with energy, emotion and a high level of sophistication and musical sensitivity, supported throughout by a very strong orchestra. Conductor Martin Palmer was multi-faceted in his approach – minimalistic, allowing the music to breathe and speak for itself, as well as being active and driven enough to spur the choir and orchestra on to a brilliant performance. All of those involved should be very proud, and I look forward to the next concert.”

Read Jake’s blog and other music reviews here.

Photographs of the day


When Cornish choirs combine

On March 29th, Truro Choral Society and Three Spires Singers came together to perform Elgar’s almighty Kingdom in Truro Cathedral. It had been a huge undertaking and the organisation and preparation was shared equally between the two choirs’ committees and Music Directors, and the choir members enjoyed rehearsing together enormously. Christopher Gray, MD of Three Spires – who originally envisioned the project – said, “Though not as often heard as The Dream of Gerontius, The Kingdom is considered by some of the great Elgar conductors, Sir Adrian Boult among them, to be equal in quality if not superior.” In fact, The Kingdom already has a far-reaching history at Truro Cathedral: Martin Hall, a former MD of both choirs, conducted TCS singing it in 1984; we are told this was the first performance of this great work since Boult himself first conducted it there in 1974. In addition to the impressive combined orchestra we were joined by stellar soloists (see below), whose incredible voices reached every nook of the cathedral’s ceiling. All choir members were elated after the experience – and happily, the audience members, which included Radio 3 presenter Petroc Trelawny, seemed to be, too.

Read Judith Whitehouse’s five-star review in the West Briton here.

Read our Kingdom preview in full.

Read more about the Elgar seminar we held in preparation for our concert here and here.

Our Kingdom soloists

Tessa Spong Soprano

Tessa Spong
Soprano

Louise Mott Mezzo-soprano

Louise Mott
Mezzo-soprano

David Stout Bass

David Stout
Bass

David Butt Phillip Tenor

David Butt Philip
Tenor

Pictures of the Saturday-afternoon rehearsal before the concert

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With thanks to Camilla Comeau of Three Spires Singers for this happy image

With thanks to Camilla Comeau of Three Spires Singers for this happy image