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2009 / 2010 SEASON
Messiah HANDEL 1685 - 1759
ELIZABETH WATTS • PAULA MURRIHY FINNUR BJARNASON • STEPHEN POWELL
GRANT LLEWELLYN ORCHESTRA OF OPERA NORTH Chorus Master: JOSEPH CULLEN Organist: SIMON LINDLEY TUESDAY 15 DECEMBER 2009 SPONSORED BY SYNGENTA & SS COMPONENTS WEDNESDAY 16 DECEMBER 2009 SPONSORED BY INCLUSIVE TECHNOLOGY
7.15 p.m. HUDDERSFIELD TOWN HALL P A G E
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SPONSORSHIP The Society is extremely grateful for the support from the following organisations over this season: • UNIVERSITY OF HUDDERSFIELD • Principal Partner • THE DELIUS TRUST • SYNGENTA • • SS COMPONENTS LTD • • SOUTHWESTERN CORPORATION • • HUDDERSFIELD GRAMMAR SCHOOL • • THE GREENBANK GROUP UK • • INCLUSIVE TECHNOLOGY LIMITED • • G2 CONSULTING • JULIE HALE CONSULTANCY • -o -
We also express our sincere gratitude for the continuing personal sponsorship of Mrs. Catherine Harrison and Mrs. S. A. Brennan.
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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. -o-
Tony Booth: Sponsorship Secretary Lavender Cottage, 6 Poplar Bank Fenay Bridge, Huddersfield HD8 0AE Tel: 01484 602445 E-mail: tony.booth@huddersfieldchoral.com T W O
Welcome to our annual performance of Handel's Messiah - the event that, for many people, marks the real beginning of Christmas. Grant Llewellyn makes his conducting début with the Society, with a strong international team of soloists and the Orchestra of Opera North for what will surely be a splendid evening of music. The Huddersfield Choral Society was founded in 1836, and 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 choir has been busy during the past summer with several engagements. April saw an invitation from the Orquestra Nacional do Porto to perform Britten's War Requiem under their principal conductor Christoph König in the stunning new Casa da Musica concert hall in Porto designed by the Dutch architect Rem Koolhaas. Our association with Signum Records continued with a recording in June at Huddersfield Town Hall of Stainer's The Crucifixion, conducted by Joseph Cullen with Darius Battiwalla, organ, and soloists Andrew Kennedy and Neal Davies. Copies of this CD are available for sale in the Area entrance tonight, along with notelets featuring paintings by local artists, Huddersfield Choral Christmas puddings and other items. The recording sessions were closely followed by a visit to Orkney for two concerts - including Vaughan Williams' A Sea Symphony with Martyn Brabbins - as part of the St Magnus Festival. More recently, a section of the choir made a return visit to Bowness on Windermere on 10 October for a concert in St Martin's church conducted by Joseph Cullen with Darius Battiwalla at the organ. Other projects this season included participation in a world première performance of a new work by Alvin Curran on 29 November at the Huddersfield Contemporary Music Festival, recorded for BBC Radio 3. This was followed by a live broadcast on BBC Radio 4 of Sunday Worship from St Paul's Hall on 6 December starting at 8.10am, although the choir were rehearsing from 7.00am! On 3 April 2010 the choir sings Orff's Carmina Burana at the Sage Gateshead with the Orchestra of Opera North conducted by Bramwell Tovey. The Society promotes its own professional subscription concert season in Huddersfield Town Hall, its home since 1881. Delius's A Mass of Life was the first Subscribers' concert on 30 October in a P A G E
stunning performance with the BBC Philharmonic conducted by Martyn Brabbins. The final Subscribers' concert, on 16 April 2010, will be Handel's Judas Maccabaeus with the Manchester Camerata conducted by Takuo Yuasa. At this concert we welcome to Huddersfield a contingent from the Osaka Symphonic Choir, making a reciprocal visit following the Choral's visit to Japan in 2007. In 2010/11 the Society celebrates its 175th season. A major sponsorship deal with the University of Huddersfield has strengthened links between the two institutions and is resulting in a great range of collaborative activities, including a choral conducting scholarship. There is an active recruitment programme to replace singers who retire or move away. Several new members have already joined us this season, bringing our total membership to well above 200. Our recruitment officer Gaynor Haliday (07951 482 047 or gaynor.haliday@huddersfieldchoral.com ) would be delighted to hear from anyone who is interested in joining the choir. For enquiries about becoming a subscriber, please contact Julie Hale on 07989 395 066 or julie.hale@huddersfieldchoral.com Details of all concerts and events can be found on the website at http://www.huddersfieldchoral.com
The Society would like to thank the ‘Friends of the Huddersfield Choral Society’ for their generous donation towards the cost of the recently released recording of Stainer’s Crucifixion.
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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COMPOSER NOTES HANDEL, GEORGE FRIDERIC, (b Halle, 23 Feb 1685; d London, 14 April 1759. English composer of German birth). He was born Georg Frederich Handel, son of a barber-surgeon who intended him for the law. At first he practised music clandestinely, but his father was encouraged to allow him to study and he became a pupil of Zachow, the principal organist in Halle. When he was 17 he was appointed organist of the Calvinist Cathedral, but a year later he left for Hamburg. There he played the violin and harpsichord in the opera house, where his Almira was given at the beginning of 1705, soon followed by his Nero. The next year he accepted an invitation to Italy, where he spent more than three years, in Florence, Rome, Naples and Venice. He had operas or other dramatic works given in all these cities and, writing many Italian cantatas, perfected his technique in setting Italian words for the human voice. In Rome he also composed some Latin church music. He left Italy early in 1710 and went to Hanover, where he was appointed Kapellmeister to the Elector, but he at once took leave to take up an invitation to London, where his opera Rinaldo was produced early in 1711. Back in Hanover, he applied for a second leave and returned to London in autumn 1712. Four more operas followed in 1712-15, with mixed success; he also wrote music for the church and for court and was awarded a royal pension. In 1716 he may have visited Germany; it was probably the next year that he wrote the Water Music to serenade George I at a river-party on the Thames. In 1717 he entered the service of the Earl of Carnarvon (soon to be Duke of Chandos) at Edgware, near London, where he wrote 11 anthems and two dramatic works, the evergreen Acis and Galatea and Esther, for the modest band of singers and players retained there. In 1718-19 a group of noblemen tried to put Italian opera in London on a firmer footing, and launched a company with royal patronage, the Royal Academy of Music; Handel, appointed musical director, went to Germany, visiting Dresden and poaching several singers for the Academy, which opened in April 1720. Handel’s Radamisto was the second opera and it inaugurated a noble series over the ensuing years including Ottone, Giulio Cesare, Rodelinda, Tamerlane and Admeto. Works by Bononcini (seen by some as a rival to Handel) and others were given too, with success at least equal to Handel’s, by a company with some of the finest singers in Europe, notably the castrato Senesino and the soprano Cuzzoni. But public support was variable and the financial basis insecure and in 1728 the venture collapsed. The previous year Handel, who had been appointed a composer to the Chapel Royal in 1723, had composed four anthems for the coronation of George II and had taken British naturalisation. Opera remained his central interest, and with the Academy impresario, Heidegger, he hired the King’s Theatre and (after a journey to Italy and Germany to engage fresh singers) embarked on a five-year series of seasons starting in late 1729. Success was mixed. In 1732 Esther was given P A G E
at a London musical society by friends of Handel’s, then by a rival group in public; Handel prepared to put it on at the King’s Theatre, but the Bishop of London banned a stage version of a biblical work. He then put on Acis, also in response to a rival venture. The next summer he was invited to Oxford and wrote an oratorio, Athalia, for performance at the Sheldonian Theatre. Meanwhile, a second opera company (‘Opera of the Nobility’, including Senesino) had been set up in competition with Handel’s and the two competed for audience over the next four seasons before both failed. This period drew from Handel, however, such operas as Orlando and two with ballet, Ariodante and Alcina, among his finest scores. During the rest of the 1730s Handel moved between Italian opera and the English forms, oratorio, ode and the like, unsure of his future commercially and artistically. After a journey to Dublin in 1741-2, where Messiah had its première (in aid of charities), he put opera behind him and for most of the remainder of his life gave oratorio performances, mostly at the new Covent Garden theatre, usually at or close to the Lent season. The Old Testament provided the basis for most of them (Samson, Belshazzar, Joseph, Joshua, Solomon, for example), but he sometimes experimented, turning to classical mythology (Semele, Hercules) or Christian history (Theodora), with little public success. All these works, along with such earlier ones as Acis and his two Cecilian odes (to Dryden words) were performed in concert form in English. At these performances he usually played in the interval a concerto on the organ (a newly invented musical genre) or directed a concerto grosso. During his last decade he gave regular performances of Messiah, usually with about 16 singers and an orchestra of about 40, in aid of the Foundling Hospital. In 1749 he wrote a suite for wind instruments (with optional strings) for performance in Green Park to accompany the Royal Fireworks celebrating the Peace of Aix-la-Chapelle. His last oratorio, composed as he grew blind, was Jephtha (1752); The Triumph of Time and Truth (1757) is largely composed of earlier material. Handel was very economical in the reuse of his ideas; at many times in his life he also drew heavily on the music of others (though generally avoiding detection) - such ‘borrowings’ may be of anything from a brief motif to entire movements, sometimes as they stood but more often accommodated to his own style. Handel died in 1759 and he was buried in Westminster Abbey, recognised in England and by many in Germany as the greatest composer of his day. The wide range of expression at his command is shown not only in the operas, with their rich and varied arias, but also in the form he created, the English oratorio, where it is applied to the fates of nations as well as individuals. He had a vivid sense of drama, but above all had a resource and originality of invention, to be seen in the extraordinary variety of music in the op.6 concertos, for example, in which melodic beauty, boldness and humour all play a part, that place him and J.S. Bach as the supreme masters of the Baroque era in music.
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the co-educational school for girls and boys aged 3-16
SCHOLARSHIPS
ARE
AVAILABLE
Open Morning Saturday 16th January 2010. 9.30 - noon Senior School Scholarship & Entrance Exam Saturday 30th January 2010 Music Festival Saturday 22nd & Sunday 23rd May 2010 Huddersfield Grammar School Royds Mount, Luck Lane, Marsh, Huddersfield, West Yorkshire, HD1 4QX Tel: 01484 424549 Fax: 01484 531835 email: admin@huddersfield-grammarschool.co.uk P A G E
S I X
Choir Members SOPRANO: Margaret Atkinson* Susan Baines Sheila Baker** Jill Bamford Lydia Bayliss Charmaine Beaumont** Jill Benn Patricia Berry* Janet Booth Chrissie Bosworth Elly Bosworth Elizabeth Boyle Dorothy Bradbury Christine Broadbent Louise Brown Sarah Brown Colleen Brown Derrianne Byrne Mary Cadwaladr Barbara Carroll Joanna Cole Tricia Commons Gwyneth Cooper Rosemary Cooper Andrea Crawshaw* Eleanor Davies Jenny Ellis Sue Ellis Linda Fellows Sheila Garside* Katherine Hall Julia Harvey Margaret Henry* Hilary Hibbin Kate Hyland-Collier Amy Jackson Caroline Jones Georgia Katsiroumpa Helen Kettlewell Emma Kilroy Libby Kraus Fiona Law Elaine Lee* Anne Lockwood Helen Martin
Jules Mehten Wendy Moores Cath Murgatroyd Megan Nelson Pamela Pal Jean Parker* Leah Pattison Stephanie Pioli* Carol Randerson* Christine Roberts Katrina Robinson-Brown Jane Sargent* Hannah Saxon Chanelle Schofield Sue Shepherd Thelma Simpson Debbie Skipper Susan Smith Doreen Smurthwaite Nan Steinitz Ruth Stones* Marilyn Sutcliffe Sarah Wickham Denise Wilkes Glynis Wilkinson Susan Wilkinson* Mary Wilson ALTO: Ruth Aldred Helen Ashley-Taylor Anna Bailey Thelma Bateman Sue Beatty** 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 Vicki Scurrah Eileen Sheller Suzanne Smelt Zelma Stevens Marjorie Swift** Pam Sykes Vera Thompson Anna Thompson Lettice Thomson* Susan Turnbull Sandra Twitchett 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* P A G E
S E V E N
Chris Fawcett Graham Fearnley* Jeremy Garside Ronald Gee David Gee Steven Grant Malcolm Hinchliffe Roy Hirst Norman Hirst Martin Jenkins Martin Kettlewell Gregory Knaggs Timothy Lewis** John Ling David Lunn Richard Myhill Arthur Quarmby* Philip Ratcliffe Stuart Rudd Gerald Savage Ian Smith Alan Stephens Charles R. Sykes David Vickers Harvey Walsh David Ward Michael Widdall Tim Wilkes BASS: Femi Aboaba Richard Ainley Christopher Arnold** David Atkinson Gareth Beaumont** James Blagbrough Graham Boyle John Brown* David Burgess Mike Corney Jim Cowell Martyn Crossley* James Curran** Ian Daniel* Peter Dawson P.J. Dodd
Granville Dransfield* Raymond Ellis John Harman David Hartley*** David Hoddle Dennis Holmes Keith Horner William Kirby 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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E I G H T
GRANT LLEWELLYN Music Director of the North Carolina Symphony, Grant Llewellyn is renowned for his exceptional charisma, energy and easy authority in music of all styles and periods. Born in Tenby, South Wales, Llewellyn won a Conducting Fellowship to the Tanglewood Music Center in Massachusetts in 1985 where he worked with Bernstein, Ozawa, Masur and Previn. As Assistant Conductor of the Boston Symphony Orchestra in the early 1990s he conducted concerts at the Tanglewood Festival, the Boston Subscription Series and in the “Boston Pops”. To date, Grant Llewellyn's career has led him to hold positions with three European orchestras: Principal Conductor of the Royal Flanders Philharmonic, Principal Guest Conductor of the Stavanger Symphony Orchestra and Associate Guest Conductor with the BBC National Orchestra of Wales. Notable recent European guest engagements have included the Royal Philharmonic Orchestra, Frankfurt Radio Symphony Orchestra, the BBC Philharmonic, the Helsinki Philharmonic and BBC Symphony. Grant Llewellyn has conducted many orchestras in North America, most notably the symphonies of Atlanta, Boston, Houston, Montreal, Milwaukee, Philadelphia, St. Louis and Toronto. As Music Director of the Handel and Haydn Society, America's leading period orchestra, Llewellyn gained a reputation as a formidable interpreter of music of the Baroque and classical periods. Among the highlights of his work with the Society have been staged performances of Purcell's Dido and Aeneas in collaboration with director Chen Shi-Zheng, and Bach's St Matthew Passion. P A G E
An accomplished opera conductor, Grant Llewellyn has appeared at the opera companies of English National Opera (The Magic Flute) and the Opera Theatre of Saint Louis, where his repertoire has ranged from Handel's Radamisto to Alexander Goehr's Arianna. In 2001 he Photo credit: embarked on a collaboration Michael Lutch with acclaimed Chinese director Chen Shi-Zheng in a production of Dido and Aeneas at Spoleto Festival, USA. In 2003 Llewellyn made his début with Opera North in a new production of Massenet's Manon whilst in June 2005 he conducted the final of the BBC Cardiff Singer of the World, one of the world's most prestigious singing competitions. His most recent opera project was a semi-staged production of Mozart's Marriage of Figaro in 2007, with the North Carolina Symphony. His recent recording of American music with the North Carolina Symphony and Branford Marsalis for the Swedish label BIS has been released to critical acclaim with The Gramophone commenting “...the performances are more than just enthusiastic, with discipline remarkably tight...the result is a winner.” Grant Llewellyn lives in Cardiff with his wife Charlotte and their four children.
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JOSEPH CULLEN Chorus Master
Described by Opera News as ‘clearly a name to watch’, Grammy Award-winning Joseph Cullen is one of the most exciting talents to emerge in the UK in recent years. His experience spans a range of prestigious appointments, including Director of the London Symphony Chorus, Chorus Master of the Huddersfield Choral Society, Chorus Director of the Academy of St Martin-in-the-Fields, and guest conducting appearances with orchestras including London Symphony Orchestra, BBC Concert Orchestra and The Academy of St Martin-in-theFields.
audiences of up to 14000 in the Jay Pritzker Auditorium in Millenium Park, and conducted Lobesgesang (Mendelssohn) with the Berkshire (USA) Choral Festival in Canterbury Cathedral. He has conducted the LSC in Bach’s St Matthew Passion in the Barbican with the City of London Sinfonia in successive years and again directs the CLS in three concerts in the City of London Festival this time featuring Cantatas by J S Bach early in 2010. Last June he completed the final CD of a trilogy with the Huddersfield Choral Society conducting The Crucifixion (John Stainer) on the Signum Classics label.
Joseph has worked closely with some of the world’s leading conductors including Sir Simon Rattle, Sir Neville Marriner, Sir Mark Elder, Michael Tilson Thomas, Valery Gergiev, Michael Tilson Thomas, Gianandrea Noseda, Vasily Petrenko, Yan-Pascal Tortelier, Bernard Haitink, Richard Hickox and Sir Colin Davis, with whom he won a 2006 Grammy award for the LSO Live recording of Falstaff (Verdi). Other recordings include the Grammy-nominated Peter Grimes (Britten) and A Child of our Time (Tippett). for LSO Live and ‘Symphony of a Thousand’ (Mahler) for EMI. He will again prepare the LSC for the second performance of James MacMillan’s St John Passion, written for the 80th birthday of Sir Colin Davis with the LSO. In 2001, Joseph Cullen was appointed Director of the London Symphony Chorus, whose engagements this season have included visits to Rome (Creation) and Luxembourg (Verdi Requiem). Last April he conducted the London Symphony Chorus in Mozart's C minor Mass in Co. Clare, Eire and in the past year he has visited Orkney (Sea Symphony) and Oporto (War Requiem) with the Huddersfield Choral Society and appeared at the Grant Park Festival in Chicago where he conducted Russian programmes including The Bells (Rachmanninov) to P A G E
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• Subscriber Friends who are unable to attend the ballot given priority in the subsequent allocation of tickets.
F R I E N D S ‘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.
BENEFITS INCLUDE:
• Priority booking for Public Concerts at the Town Hall (limited in the case of Public Messiah 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.
The cost of membership of The Friends is £18 joint membership, £12 single membership. Further details and an application form can be obtained from:
Cynthia Pratt, Chapel House, Slant Gate, Highburton, Huddersfield HD8 0QN - Tel: 01484 600352
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T W E L V E
Paula Murrihy Mezzo-soprano
Elizabeth Watts Soprano Elizabeth Watts was a chorister at Norwich Cathedral, studied archaeology at Sheffield University, before attending the Royal College of Music. She was selected by YCAT in 2004, won the 2006 Kathleen Ferrier Prize, Photo credit: Dylan Thomas the 2007 Outstanding Young Artist Award at the Cannes "MIDEM Classique Awards" and gained international recognition at the 2007 BBC Cardiff Singer of the World Competition, winning the Rosenblatt Recital Song Prize and selection for BBC Radio 3's New Generation Artists Scheme. With a voice described by International Record Review as "one of the most beautiful Britain has produced in a generation" the critical success of her first recording of Schubert lieder, as part of an exclusive contract for SONY Red Seal, has now established her as "one of the brightest new talents" (The Independent). The recording was Gramophone magazine's 'Editor's Choice' in February 2009. Her operatic work has included: Susanna Le Nozze di Figaro for Santa Fe Opera and Welsh National Opera, Flora The Knot Garden for Music Theatre Wales and the Royal Opera House, Papagena Die Zauberflöte, Barbarina Marriage of Figaro, Purcell's King Arthur, and Music and Hope Orfeo for English National Opera (Young Singers' Programme 2005-2007), the title role in Handel's Semele, and Arthébuze Actéo. Roles whilst at the RCM included Flora Turn of the Screw, Poppea Agrippina, and Elmira Sosarme. Next season she appears as Mandane (Artaxerxes) for both the Royal Opera House/Linbury Studio, and the 2010 Buxton Festival. She has given recitals at leading venues throughout the UK with pianists such as Roger Vignoles and Julius Drake. She has performed in concert with all the BBC orchestras, The English Concert, the SCO, RSNO, RPO, LPO, RLPO, CBSO and the Hallé, and with Manchester Camerata at the 2009 BBC Proms.
Mezzo-Soprano Paula Murrihy is a native of County Kerry, Ireland. She received her Bachelor in Music from DIT Conservatory of Music and Drama in Dublin before going on to study for Masters in Vocal Performance at New England Conservatory. Paula’s operatic roles include the title role in Purcell's Dido & Aeneas (Bologna) and Good Witch Transformations (Wexford); Maddalene Il Viaggio a Reims (Oper Frankfurt); the Messenger in Orfeo (H&H Society); 2nd lady in Die Zauberflöte (Santa Fe, Frankfurt), Ino Semele (Boston) and Tebaldo Don Carlo (Covent Garden). In concert Paula's engagements include Bach's St Matthew Passion and Haydn's Paukenmesse (Boston) and Handel's Messiah and Mozart's Requiem (H&H Society). An accomplished recitalist, Paula has performed at the Aldeburgh Festival. In 2008 Paula made her Royal Opera House début as Tebaldo in the new production of Don Carlo with Antonio Pappano. Recent and future appearances include Annio La Clemenza di Tito (Chicago Opera Theater), Cherubino Ghosts of Versailles (Opera Theatre of St Louis and Wexford Festival Opera) and Mercedes Carmen (Royal Opera House), in addition to further roles with Oper Frankfurt. Paula joined Oper Frankfurt as a member of their ensemble in September 2008.
Future plans include concerts with the Netherlands Philharmonic, Academy of Ancient Music, the City of London Sinfonia, and Marzelline/ Fidelio for the Royal Opera House in Spring 2011.
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Finnur Bjarnason Tenor
Stephen Powell Baritone
Finnur Bjarnason was born in Reykjavík, Iceland, and studied singing at the Guildhall School of Music and Drama. Operatic experience includes Don Ottavio Don Giovanni (Glyndebourne Festival), Tannhäuser and St John Passion (Châtelet), L'Incoronazione di Poppea (Champs-Elysées) and Belmonte (Nîmes, Iceland, Bergen Festival), Apollo & Shepherd Orfeo (Haïm/Lille, Caen, Paris and Strasbourg), Il ritorno d'Ulisse in Patri, Pane La Calisto (Bayerische Staatsoper), Peter Quint Turn of the Screw (Oviedo, Leipzig), Le Vin Herbé (Ruhr Triennale), Castor in a new production of Castor et Pollux (Netherlands Opera) and Ferrando Cosi fan Tutte (Festival d'Aix en Provence). Finnur was a member of the ensemble at the Komische Oper, Berlin where his roles included the title role in Britten's Albert Herring, Lensky Eugene Onegin and Tamino Die Zauberflöte. Finnur has appeared as a soloist in performances of the Messiah (Barbican, Birmingham, Handel & Haydn), Serenade for Tenor, Horn and Strings (St John's, Smith Square), a recording of Brahms's Lieder for BBC Radio 3, Alexander's Feast (Bayerische Rundfunk) and Monteverdi Madrigals Book 7 & 8 (Le Concert d'Astrée/Haïm). As a recitalist he has appeared in the BBC Radio 3 lunchtime series and at the Wigmore Hall. Engagements in 2009 include Le Vin Herbé (Lyon), St John Passion (Spain, Bergen Festival), Prince Love for Three Oranges (Graz) and Moses und Aron (Bochum). Subsequent engagements include Kudryash Kat'á Kabanova (Oviedo).
The dynamic American baritone Stephen Powell brings his "rich, lyric baritone, commanding presence, and thoughtful musicianship" to a wide range of music, from Monteverdi and Handel through Verdi and Puccini to Sondheim and John Adams. In 2009-10 Stephen Photo credit Powell appears as Ford in Falstaff; Christian Pollard as Uncle John in The Grapes of Wrath; sings as soloist in Szymanowski's Stabat Mater with Rome's Accademia Nazionale di Santa Cecilia, Christoph Eschenbach conducting; in Brahms' Requiem with Baltimore Symphony Orchestra, Marin Alsop conducting; in Carmina Burana with Cincinnati Symphony, Paavo Jarvi conducting; appears in recital with his wife, soprano Barbara Shirvis, through Highland Park United Methodist Church; and in an opera gala concert with North Carolina Symphony Orchestra. Mr. Powell's most recent successes include his San Francisco Opera debut as Sharpless; Ford in Falstaff; Riccardo in I puritani; Figaro in Il barbiere di Siviglia; singing as soloist in Carmina Burana, and at the Aspen Music Festival. Following his last-minute substitution début with New York City Opera as the title role in Hindemith's Mathis der Maler, he has returned to the company to perform the title role in Il ritorno d'Ulisse in patria, Papageno in Die Zauberflöte, Sharpless in Madama Butterfly, Enrico in a new production of Lucia di Lammermoor, and Zurga in a new production of Les Pêcheurs de perles. Other roles which have earned Mr. Powell critical acclaim include the title role in Eugene Onegin, Escamillo in Carmen, Count in Le nozze di Figaro, Marcello in La bohème, the title role in Sweeney Todd, Valentin in Faust, the title role in Don Giovanni, and Guglielmo in Così fan tutte. Stephen Powell's prolific career on the concert stage has seen him perform as soloist in Carmina Burana, Messiah, Beethoven's Symphony No. 9 and Missa Solemnis, Bach's St. Matthew Passion, Mendelssohn's Elijah, Elgar's Dream of Gerontius, Brahms' Ein Deutsches Requiem, Frank Martin's In Terra Pax, Szymanowski's Stabat Mater, Walton's Belshazzar's Feast, Copland's Old American Songs and Mahler's Symphony No. 8. An avid recitalist, Stephen Powell made his first recital appearance with New York Festival of Song, with Steven Blier at the piano. He subsequently performed at Weill Recital Hall. He now performs frequently with his wife, soprano Barbara Shirvis, in three recital programs they created together: "Hearts Afire: Love Songs Through the Ages", "Bellissimo Broadway!", and "American Celebration." They also give master classes at universities across the USA.
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ORCHESTRA OF OPERA NORTH Music Director - Richard Farnes
Peter Maslin* (Leader) Andrew Long (Associate Leader) Stephen Shulman* Michael Ardron* Brian Reilly Thea Spiers
Second Violins
Basses
Paul Miller* Claire Sadler
Oboes
Catherine Lowe Lisa Osborne
Bassoon
Katherine New Alison Dixon Anita Chidsey* Paul Udloff*
Timpani
Marney O'Sullivan
Harpsichord Joseph Cullen
Organ
Simon Lindley
Sebastian New
Trumpets
Murray Greig Michael Woodhead*
Violas
Vivienne Campbell Elizabeth Wyly Howard Breakspear*
Cellos
Robert Truman Alexandra Mackenzie Andrew Fairley*
Douglas Scarfe: Chorus & Orchestra Director Helen Wilson: Orchestra Manager Andrew Fairley*: Library Manager Vi c t o r i a B e l l i s : L i b r a r i a n Christopher Ladds: Stage Manager Jordan Senior Orchestra Attendant Helen Stephens*: Music Secretary * Opera North Company member for 25 years or more P A G E
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Orchestra of Opera North
First Violins
ORCHESTRA OF OPERA NORTH The Orchestra of Opera North holds a unique place amongst British orchestras. Universally praised by audiences and critics alike, the Orchestra is the only ensemble in the country to have a year-round dual role in the opera house and concert hall. The Orchestra plays a significant part in the major concert series of the region, appearing with numerous international guest conductors and soloists. An important relationship with Leeds International Concert Season sees the Orchestra performing regular concerts of major symphonic repertoire, a series of gala concerts, and combining with the region's choral societies. It is also the resident Orchestra for the Leeds Conductors Competition.
and works by Bliss, Delius, Lambert and Vaughan Williams conducted by the Orchestra's founder conductor David LloydJones. In the operatic field Opera North has made several important recordings, including Walton's Troilus and Cressida conducted by Richard Hickox, which won the prestigious Gramophone Award for best opera recording, Nabucco conducted by David Parry Bart贸k's Duke Bluebeard's Castle and Verdi's Don Carlos, conducted by the Company's current Music Director, Richard Farnes.
The Orchestra has developed a groundbreaking collaboration with Kirklees Cultural Services running the concert series in Huddersfield and Dewsbury Town Halls. This work which has also forged new relationships with groups across the Kirklees area including performing ensembles and educational institutions was nominated for the 2006 Royal Philharmonic Society Awards. A strong commitment to educational and community projects is a feature of the work of the musicians, collectively and also in collaboration with Opera North Education. There are a number of fine chamber ensembles within the Orchestra, including Arcturus, The Caf茅 Band, Mirage, Music Serenade and Yorkshire Classic Brass, all of whom give regular concerts throughout the region and further afield. Many of the players are outstanding teachers with several holding professorships at the Royal Northern College of Music and at Universities within the region. The Orchestra has received international recognition for its recordings, with releases on ASV, Chandos, Collins Classics, Deutsche Grammophon, EMI, Hyperion and Nimbus. A close relationship with Naxos has produced a series of highly acclaimed recordings of William Walton's orchestral music conducted by former Opera North Music Director Paul Daniel P A G E
Outside the region, the Orchestra has toured abroad both with the whole Company - Opera North was the first foreign company to visit Barcelona's rebuilt Teatro del Liceu; in December 2004 it took part in the Monaco Dance Forum, July 2005 saw its first visit to the prestigious Ravenna Festival, and in August this year the Company will visit the Bregenz Festival for the first time - and independently in concert (Contemporary Music Festivals in Vienna and Strasbourg) and in this country has regularly performed in London (Sadler's Wells, the BBC Proms, South Bank and at the Hampton Court Festival).
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CHRISTMAS HYMN A CHRISTMAS PRESENT Few of those who join on Christmas Day singing ‘Christians, awake, salute the happy morn’, have any idea that the Christian Church owes this magnificent hymn to the pretty fancy of a young girl. Dolly Byrom and her father lived in Manchester, more than two and a half centuries ago, John Byrom being a teacher of shorthand, and also a Jacobite leader. One day, shortly before Christmas, Byrom asked his daughter what she would like for a Christmas present, and Dolly, knowing that her father sometimes wrote poetry, replied ‘Please write me a poem’. When she came down on Christmas morning she found on her plate a piece of paper - still preserved in the Library of Cheetham’s Hospital, Manchester - on which was written a hymn, headed ‘Christmas Day, For Dolly’. Soon after, John Wainwright, the organist of Manchester Parish Church, now its cathedral, saw this hymn, and composed for it the tune ‘Yorkshire’, which we all know so well. On the following Christmas morning Byrom and his daughter were awakened by the sound of singing below their windows; it was Wainwright with his choir, singing Dolly’s hymn:
Christians, awake, salute the happy morn Whereon the Saviour of mankind was born; Rise to adore the mystery of love, Which hosts of angels chanted from above; With them the joyful tidings first begun Of God incarnate and the Virgin’s Son. (Repeat)
Then to the watchful shepherds it was told, Who heard the angelic herald’s voice: ‘Behold I bring good tidings of a Saviour’s birth To you and all the nations upon earth; This day hath God fulfilled His promised word, This day is born a Saviour, Christ the Lord’. (Repeat)
Christians awake, salute the happy morn Whereon the Saviour of mankind was born. J. BYROM - 1692-1763 J. WAINWRIGHT - 1723-68 The tune ‘Yorkshire’ was originally called ‘Stockport’. Wainwright’s son Robert (1748-82) wrote the hymn tune ‘Manchester’. His other son Richard (1758-1825) wrote the hymn tune ‘Liverpool’. Both the sons were organists at Manchester Cathedral. Recent research by The Society’s Archivist, Malcolm Hinchliffe, has shown that The Society is still singing the original version of the tune and harmonies written by John Wainwright. The first reported occasion on which the Christmas Hymn was sung at a Messiah performance given by The Society was in December 1849 when it was sung to conclude the concert! It was towards the end of the 19th century that the Christmas Hymn began to be sung regularly before Messiah performances at Christmas- time, 1897 being an exception. In that year the concert fell on December 17th, which, in those days, was considered too remote from Christmas! However, the idea did not originate in Huddersfield; it was reported as being sung by the Halifax Choral Society prior to a Messiah performance in 1842. P A G E
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PART ONE
MESSIAH - Handel
The prophecy and realisation of God’s plan to redeem mankind by the Coming of the Messiah. SINFONY RECIT. (Tenor)
Comfort ye, my people, saith your God; speak ye comfortably to Jerusalem; and cry unto her, that her warfare is accomplished, that her iniquity is pardon’d. The voice of him that crieth in the wilderness, prepare ye the way of the Lord; make straight in the desert a highway for our God.
AIR (Tenor)
Every valley shall be exalted, and every mountain and hill made low, the crooked straight and the rough places plain.
CHORUS
And the glory of the Lord shall be revealed, and all flesh shall see it together; for the mouth of the Lord hath spoken it.
RECIT. (Bass)
Thus saith the Lord of Hosts; Yet once a little while and I will shake the heavens and the earth, the sea and the dry land, and I will shake all nations; and the desire of all nations shall come. The Lord, whom ye seek, shall suddenly come to his temple, even the messenger of the covenant, whom ye delight in: Behold He shall come, saith the Lord of Hosts.
AIR (Alto)
But who may abide the day of His coming? and who shall stand when he appeareth? For He is like a refiner’s fire.
RECIT. (Bass)
For behold, darkness shall cover the earth, and gross darkness the people; but the Lord shall arise upon thee, and His glory shall be seen upon thee, and the Gentiles shall come to thy light, and kings to the brightness of thy rising.
AIR (Bass)
The people that walked in darkness have seen a great light; and they that dwell in the land of the shadow of death, upon them hath the light shined.
CHORUS
For unto us a child is born, unto us a son is given, and the government shall be upon His shoulder; and His name shall be called Wonderful, Counsellor, the Mighty God, the Everlasting Father, the Prince of Peace.
PIFA (PASTORAL SYMPHONY) RECIT. (Soprano)
There were shepherds abiding in the field, keeping watch over their flock by night.
RECIT. (Soprano)
And lo! the angel of the Lord came upon them, and the glory of the Lord shone round about them, and they were sore afraid.
RECIT. (Soprano)
And the angel said unto them, Fear not; for behold I bring you good tidings of great joy, which shall be to all people; for unto you is born this day in the city of David, a Saviour, which is Christ the Lord.
CHORUS
RECIT. (Soprano)
RECIT. (Alto)
CHORUS
AIR (Alto) and CHORUS
AIR (Soprano)
And He shall purify the sons of Levi, that they may offer unto the Lord an offering in righteousness. Behold! a Virgin shall conceive and bear a Son, and shall call His name Emmanuel, ‘God with us.’ O thou that tellest good tidings to Zion, get thee up into the high mountain; O thou that tellest good tidings to Jerusalem, lift up thy voice with strength; lift it up, be not afraid, say unto the cities of Judah, Behold your God. Arise, shine, for thy light is come, and the glory of the Lord is risen upon thee. P A G E
And suddenly there was with the angel a multitude of the heavenly host, praising God, and saying: Glory to God in the highest, and peace on earth, goodwill towards men. Rejoice, greatly, O daughter of Zion; Shout, O daughter of Jerusalem! behold thy king cometh unto thee! He is the righteous Saviour, and He shall speak peace unto the heathen. Continued on page 23 T W E N T Y
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MESSIAH - Handel RECIT. (Alto)
Then shall the eyes of the blind be open’d and the ears of the deaf unstopped; then shall the lame man leap as a hart, and the tongue of the dumb shall sing.
continued
CHORUS
All we like sheep have gone astray; we have turned every one to his own way. And the Lord hath laid on him the iniquity of us all.
RECIT. (Tenor)
AIR (Alto)
All they that see Him laugh Him to scorn; they shoot out their lips, and shake their heads, saying:
He shall feed His flock like a shepherd; and He shall gather the lambs with His arm, and carry them in His bosom, and gently lead those that are with young.
CHORUS
He trusted in God that He would deliver Him; let Him deliver Him, if He delight in Him.
AIR (Soprano)
Come unto Him, all ye that labour, and are heavy laden, and He will give you rest. Take His yoke upon you, and learn of Him, for He is meek and lowly of heart, and ye shall find rest unto your souls.
RECIT. (Tenor)
CHORUS
AIR (Tenor)
Thy rebuke hath broken His heart; He is full of heaviness. He looked for some to have pity on Him, but there was no man, neither found He any to comfort Him.
Behold, and see if there be any sorrow like unto His sorrow.
His yoke is easy and His burthen is light.
INTERVAL TWENTY MINUTES
RECIT. (Tenor)
He was cut off out of the land of the living; for the transgressions of Thy people was He stricken.
AIR (Tenor)
PART TWO
But Thou didst not leave His soul in hell; nor didst Thou suffer Thy Holy One to see corruption.
The accomplishment of redemption by the sacrifice of Jesus, mankind’s rejection of the offer, and mankind’s utter defeat.
CHORUS
CHORUS
Behold the Lamb of God that taketh away the sin of the world.
AIR (Alto)
He was despised and rejected of men; a man of sorrows and acquainted with grief. He gave His back to the smiters and His cheeks to them that plucked off the hair; He hid not His face from shame and spitting.
CHORUS
Surely He hath borne our griefs, and carried our sorrows! He was wounded for our transgressions; He was bruised for our iniquities; the chastisement of our peace was upon Him.
CHORUS
Lift up your heads, O ye gates, and be ye lift up, ye everlasting doors, and the King of Glory shall come in. Who is this King of Glory? The Lord strong and mighty, strong and mighty in battle. Lift up your heads, O ye gates, and be ye lift up ye everlasting doors, and the King of Glory shall come in. Who is this King of Glory? The Lord of Hosts, He is the King of Glory.
RECIT. (Alto)
Thou art gone up on high, thou hast led captivity captive, and received gifts for men; Yea, even for thine enemies, that the Lord God might dwell among them.
CHORUS
The Lord gave the word, great was the company of the preachers. Continuedon page 25
And with His stripes we are healed. P A G E
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With the compliments of
The Wilkinson Building Co., (Leeds) Ltd. Apsley House Leeds Concourse House Telephone: 0113 284 26 31 P A G E
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MESSIAH - Handel AIR (Soprano)
How beautiful are the feet of them that preach the gospel of peace, and bring glad tidings of good things.
CHORUS
Their sound is gone out into all lands, and their words unto the ends of the world.
RECIT. (Bass)
Behold! I tell you a mystery: we shall not all sleep; but we shall all be changed, in a moment, in the twinkling of an eye, at the last trumpet.
AIR (Bass)
The trumpet shall sound, and the dead shall be raised incorruptible, and we shall be changed. For this corruption must put on incorruption, and this mortal must put on immortality.
AIR (Bass)
Why do the nations so furiously rage together, and why do the people imagine a vain thing? The kings of the earth rise up, and the rulers take counsels together against the Lord, and His Anointed.
CHORUS
Worthy is the Lamb that was slain, and hath redeemed us to God by His blood, to receive power, and riches, and wisdom, and strength, and honour, and glory, and blessing. Blessing and honour, glory and power be unto Him that sitteth upon the throne, and unto the Lamb, for ever and ever.
CHORUS
Let us break their bonds asunder, and cast away their yokes from us.
RECIT. (Tenor)
He that dwelleth in heaven shall laugh them to scorn; the Lord shall have them in derision.
CHORUS Amen.
AIR (Tenor)
Thou shalt break them with a rod of iron; Thou shalt dash them in pieces like a potter’s vessel.
CHORUS
Hallelujah! for the Lord God Omnipotent reigneth. The kingdom of this world is become the kingdom of our Lord, and of His Christ; and He shall reign for ever and ever. King of Kings, and Lord of Lords. Hallelujah!
PART THREE
A hymn of thanksgiving for the final overthrow of death. AIR (Soprano)
I know that my Redeemer liveth, and that He shall stand at the latter day upon the earth; and though worms destroy this body, yet in my flesh shall I see God. For now is Christ risen from the dead, the first-fruits of them that sleep.
CHORUS
Since by man came death. By man came also the resurrection of the dead. For as in Adam all die. Even so in Christ shall all be made alive. P A G E
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As we approach our 175th anniversary season in 2010/2011, we wish to inform you of our plans to date. Choir members have entered into the spirit of fundraising for this very special season and we have set up a fundraising committee to plan our celebrations. These will include six workshops aimed to widen access to both the senior and junior choirs and to share the skills of our professional musicians. It is particularly important that we encourage young singers to join us and thus ensure the future success of our Society. We now have a new recording of Stainer's Crucifixion which is on sale tonight, or can be ordered via our website. We are also producing our own notelets to raise funds. These are also on sale at our display in the Area entrance. A new edition of ‘And the Glory' - the history of the Society - is currently in production and will be available in 2010. We plan to hold a Sponsored Walk (with some singing en route) on June 5th 2010 and we are holding a Sponsored Sing in Huddersfield Town Hall in April 2011.
We are preparing a series of display boards on the history and development of the Society. If you have any items of interest which could be photographed then we would be very pleased to have sight of them.
Additional concerts are being planned for the 2010/11 season including a gala performance of Elgar's Dream of Gerontius on Saturday 18th June 2011 - a date very close to our founding date in June 1836. We are proud of the great tradition of the Society and are working hard to ensure the success of this special celebration. Individual members are holding a wide variety of events from Ceilidhs to cake baking, plant sales and plum pudding sales. Also in support of the 175th anniversary celebrations we are launching our “£175 for 175” appeal. Any friend or supporter of the Society may, if they wish, contribute by Gift Aid, either by single donation or by monthly standing order. All donors will be acknowledged in our souvenir brochure commemorating the 175th season and will receive a complimentary copy. Further details from Adrian Lee on 01484 450321 or e-mail adrian.lee@huddersfieldchoral.com Listed below are the events planned up to May 2010. This is constantly being updated and details will be posted on our website at www.huddersfieldchoral.com.
Our Recordings, Notelets and Christmas Puddings are on sale this evening in the Area Entrance.
This evening we shall have a table in the Area entrance with recordings, other items for sale and further details of all the events. Tonight you can see our new choral notelets and our special Christmas pudding! P A G E
EVENTS
❑ Sunday 25th April 2010 Sunday Lunch with Brian Kay Bertie's Banqueting Rooms, Elland Tickets £30 from Gaynor Haliday on 01484 667849 ❑ Saturday 15th May 2010 Ceilidh at Holmfirth Civic Hall ❑ Saturday 29th May 2010 Plant sale at the home of Sir John Harman We look forward to welcoming you at all of the above events. Do keep looking at the special 175th anniversary page on our website at www.huddersfieldchoral.com or contact Jenny Lockwood on 01484 666827 or email david.lockwood@huddersfieldchoral.com
FUTURE CONCERTS • SATURDAY 3 APRIL 2010 • THE SAGE GATESHEAD - 7.30pm LA VALLEE DES CLOCHES - Ravel (arr Grainger) SHEHERAZADE - Ravel CARMINA BURANA - Orff Orchestra of Opera North - Conductor - Bramwell Tovey • FRIDAY 16 APRIL 2010 • HUDDERSFIELD TOWN HALL 7.30pm (Subscribers’ Concert) JUDAS MACCABAEUS - Handel Manchester Camerata - Conductor - Takuo Yuasa With members of the Osaka Symphonic Choir • SATURDAY 12 JUNE 2010 • ST PAUL’S HALL HUDDERSFIELD PRESIDENT’S GALA CONCERT Conductor - Joseph Cullen - Organ - Darius Battiwalla
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Recordings THE CAROLS ALBUM: £12.00
THE HYMNS ALBUM: £12.00
THE CRUCIFIXION: £12.00
OTHER RECORDINGS AVAILABLE: • A Christmas Fantasy • • A Christmas Celebration • • Belshazzar’s Feast • • Messiah • Recordings will be on sale in the Area Entrance tonight or can be obtained from:
David Lockwood (Telephone 01484 666827)
E-mail: David.lockwood@huddersfieldchoral.com P A G E
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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 Chorus Master . . . . . . . . . . . . . . . . . . . . . . . . . . JOSEPH CULLEN Deputy Chorus Master . . . . . . . . . . . . . . . . . DARIUS BATTIWALLA Accompanist . . . . . . . . . . . . . . . . . . . . . . . . . . . .DANIEL GORDON Deputy Accompanist . . . . . . . . . . . . . . . . . .MALCOLM HINCHLIFFE Agent: . . . . . . . . . . . . . . . . PATRICK GARVEY (Tel 01904 621222)
OFFICIALS AND COMMITTEE President . . . . . . . . . . . . . . . . . . . . .BRENDA MOSLEY Vice President . . . . . . . . . . . . .CONRAD WINTERBURN General Secretary . . . . . . . . . . . . . . . . . JIM COWELL Treasurer . . . . . . . . . . . . . . . . . . . . . . . . ADRIAN LEE Choir Secretary . . . . . . . . . . . . . ANDREA CRAWSHAW Subscribers’ Secretary . . . . . . . . . . . . . . JULIE HALE Sponsorship Secretary . . . . . . . . . . . . .TONY BOOTH Programme Officer . . . . . . . . . . . . DAVID LOCKWOOD Recruitment Officer . . . . . . . . . . . . GAYNOR HALIDAY Publicity Officer . . . . . . . . . . . . . . . . . . . JIM COWELL Music Officer . . . . . . . . . . . . . . . . . . DAVID BURGESS Associates Members’ Secretary . . . . . JEAN PARKER Archivist . . . . . . . . . . . . . . . . . . MALCOLM HINCHLIFFE Chairman 175 Committee . . . . . . . JENNY LOCKWOOD Members’ Representatives Janet Booth David Croft David Gee Hilary McLean Jane Sargent Vicki Scurrah Mark A Taylor Sue Turnbull 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
HUDDERSFIELD CHORAL SOCIETY PO Box B30, 35 Westgate, Huddersfield HD1 1PA Telephone: 01484 519431 www.huddersfieldchoral.com
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