Messiah with Winnipeg Symphony Orchestra 2024

David Fallis is our conductor for this year's performance of Handel's Messiah. No, I cannot get sick of singing this work year after year if the likes of Maestro Fallis are still inspired by it why shouldn't I? He brought his interpretation to us with consise instructions - "Do you know what stripes are in this context?" (And with his stripes we are healed) "They are ugly and they hurt like hell. Sing that word that way" He also has us change our singing of the word sheep. We get to the 'p' faster. Many of his instructions had to do with singing the text more similar to our speaking - slight problem for me that my Mennonite speaking may differ from his native Torontonian vocalizations so my production of the article, 'the' may still be jarring for him. He brought a generalized more stately tempo to many of the pieces saying, "if you are confident in what you are singing there is no need to rush." This for the "Blessing and Honour section of the last movement. He also brushed over some of our more rehearsed marcatto passages. Most notable contrast from the 2023 Messiah is that the central soparno aria, I know that my Redemmer livith was NOT left out. Still shaking my head over that decision last year. Also, if you have ever wallowed in period dramas such as The Tudors or Borgias it will interest you to know that David Fallis has a lot to do with the feel of those episodes as he was their historical music producer! It is a delight to be working with him! I LOVE performing with the WSO and really, they are the premiere musicians in the city, but there is the odd time where they embarass me and their rehearsals with Maestro Fallis was such a time. The Instrumentalists close to me chit-chatted through his instructions and some never proved they owned a pencil and so, of course, at 2nd rehearsal there was confusion as a few scores were void of markings. Not sure why it is that guest conductors cannot be treated with more respect? Perhaps his attitude was too coolaborative for this bunch who are still pining the loss of Boreyko? Some instrument sections did not keep pace with his baton, which of course is hard to do when you are not looking in the general direction of the guy waving the baton. Keep in mind these players are getting paid to play this. Their rushing away with the tempo happened during the performances as well. Ah well, the composition and the message behind it transcended all. The audience was still inspired and nobody asked for a refund. This year we sang the Hallelujah Chorus sans score, which you wouldn't think was a big deal but you would be thinking wrongly. Winnipeg choirs don't seem to do much memory work and so it was quite something! Another first was having 3 performances instead of the usual 1 or 2, and I do believe the 3rd performance was our best! David Fallis stayed and chatted with the audience after every show which was just one of his endearing traits. The shows were held at Knox United Church as neither the WSO nor the Centennial Concert Hall has seen fit to purchase or repair the choral shell so needed for choir productions to be able to return to the Concert hall unmiked. There are some advantages to the Knox venue as it is gorgeous and gives the audience a more intimate connection with the orchestra and singers. For the choristers too, we are much closer to our conductor which I think provides us with security. I like to have eye contact with the leader during performances. Two problem areas with the venue are, parking and potties, as well as the rushed seating. Although perhaps that is also a good thing as one price gets you any seat. The audience members I spoke to were comfortable in that space. Overall, I am completely satisfied with the experience and am looking forward to Messiah 2025!

Advent 2024 - Magnificat

This Advent I am singing with a new choir in town - SOLI DEO GLORIA. What is amazing about this choir is that anyone who has a desire to sing Oratorio music can join, no experience necessary. This group sings with joy and passion of the amateur; that is doing it for the love of the art form and not as a job. I think you will be able to sense this at our performance December 1st!

We are performing 2 works that work together well thematically and span the centuries. First is Bach, Cantata 142 Uns ist ein Kind Geboren which proclaims the baby who will save us all has been born. There are beautiful arias, a great orchestral opening movement and 3 choral movements. Short and joyous and so very Bach - it will snag you immediately and pull you along all the runs and trills - completely exhilirating! Then will come Rutter's Magnificat. Opposite to Bach. First of all, unlike Bach, Rutter is a living composer and British. Though both are fans of the accidental and both have settings of the Magnificat you will never mix up the two. Bach has been my friend since I was a little girl and so before the orchestra has completed the first bar I am already in love. Rutter is a composer I have only learned to sing as an adult and I find all his time signature changes and occasional dissoance difficult to sing. I have to work so much harder at it - yes, as I mentioned - amateur choir. Still all the rehearsals have paid off and I have come to appreciate this piece very much. I am impressed with Rutter's very deliberate matching of music and text. First of all what is Magnificat? It comes from the opening lines of Mary's joyful prayer upon hearing the news that she is the to be the Mother of God's son. She begins, "My Soul doth Magnnify the Lord" How this newly pregnant teenager could rejoice instead of lament is one of the biblical mysteries. In Rutter's musical setting of Mary's words you will find incredible word painting. Mvt. 1 - My soul doth magnify the Lord: and my spirit hath rejoiced in God my Saviour. For he hath regarded the lowlineess of his hand-maiden: for behold, from henceforth All generations shall call me blessed Although we will sing this in latin you will immediately experience the exuberant joy in the opening lines, the lines about the lowly hand maiden will be subdued and beautiful. The music beautifully matches the text throughout this work. In mvt 5 you will immediately tell when the haughty are being scattered by our rapidly descending phrases followed then by the gently raising up phrases as the humble are being exalted. Wow, Mr. Rutter, such a perfect marriage of music and text! In the 6th moement comes the healing balm of the phrase "Suscepit Israel puerum suum" - (God in his mercy has helped his servant Israel.( I am close to tears when singing this line or when the soloist sings it, oh yes, there is a beautiful soprao solo in this piece, as there should be! Whoever heard of Mary being an alto? Marni Enns sings these lines beautifully! She alone is worth the price of admission. When you are sitting in the pews you will find your own striking examples of words and music working together to communicate the message of a young teen-age girl's outpourings so many years ago. Though the choir is ameteur the conductor, orchestra and soloists are not. Yuri Klaz will conduct the dynamic orchestra and soloists and weave us choristers into the mix with his magic baton. Come and experience the joy!

Passion Performance Preparation

This post is a glimpse into how I prepare for a performance during passion season. Tonight the Winnipeg Philharmonic Choir is performing two beautiful works with the Winnipeg Symphony Orchestra. They are Te Deum by Dvorak and Brahms' Requiem. I started the day by mixing up my Paska dough while listening to Bach passion chorales. The Paska receipe comes from Irmgrad Baerg, beautiful accomplished pianist who I admire greatly. While the dough rises I spend 20 minutes on the treadmill while simultaneous watching a Te Deum performance on youtube, link above, and singing along, confirming that I do have it memorized - hooray!

This is my first time singing this work, in fact prior to rehearsals I had not even heard it. I must say it is a beautiful composition ; very joyful! Our performance is very much enhanced by soloists Lara Ciekiewicz and Greg Dahl. I have heard them both perform many times and performed other works with them and they add a lot of sparkle and pizazz! Lara is always generous with praise for the choir which aids in our performance. We especially need this type of endorsement as our conductor, Yuri Klaz, is not really that impressed with us, having numerous complaints about our intonation, timing and dynamics. "A right note at the wrong time is a wrong note" It may interest you to know that a wrong note at the right time is also a wrong note. Since his visage is more glowering than glowing when he looks upon us from his podium, we are lapping up any praise we can from soloists and orchestra to keep us going. Personally, I have prepped by using www.cyberbass.com in the initial stages for the Te Deum and when that is mastered I sang along with the video recording above and my score, to eventually be doing it sans score. Of course, what one can manage in one's own living room, fortified by red wine, is not always replicated on the stage with the orchestra blasting all their insturments. The altos are placed very closely behind the trumpets and trombones which can be quite distracting at times, what with all the blasting and saliva. Also they are a rather jocular group telling jokes between blares. For Brahms I did not need to prep with cyberbass or recordings because it is a work I am very familiar with. I did however have to spend time doing excercises that gradually crescendo and descrescendo. Practically every bar of this Requiem has a crescendo and descrendo in it - which one must pay attention to but we fail at this over and over again. During rehearsals many of us just blast right through 2 bars, then go subito piano. It is difficult to maintian this constant rise and fall but it is what Brahms is all about. At last night's dress rehearsal I think we mostly managed this correctly. When you come tonight I would be interested to hear your feedback on this point. One of the highlights is to see how much our conductor basks on the podium to the sounds coming from the orchestra. There is a beautiful dynamic between orchestra and Yuri that is satisfying to watch. He is really in his element jabbing his baton and casting magic spells. The musicians are showing him respect and a spirit of collegiality abounds. This is far from always the case and it is thrilling when it happens!

Messiah - 2021 Many Firsts

  YAY! Wish come true, I did get the invitation to sing in the Messiah with the WSO this year. Though, nothing is the same as it once was.  Yes, it is true that we have sung the Messiah before, but never like this.  The following is a list of what is different this time around.

1.  Standing far from other choristers.  What's good about it?  I have space to breathe.  What's bad about it?  I have so much space to breathe I can't feel my neighbour inhaling thereby reminding me to get ready to sing.

2.  Wearing masks.  Good because conductor cannot see if I remembered to come in or not, and also I can yawn mid performance and nobody will know.  Also I find masks to be a great wrinkle remover.   Bad because the audience will certainly hear muffled words and how will they know I am smiling broadly during 'WONDERFUL COUNSELLOR"?

3. My Cousin, Matthew Dalen is singing the tenor solo part!  Ok, actually my cousin's husband, if you want to get technical. The beauty of this is that there will be many family members in the audience and I can pretend they came to hear me!  

Alto soloist is Kirsten Schellenberg, she of the velvet let-me-wallow-in-it voice. Soprano is Jessica Kos-Wicher and bass is Neil Whitehead.4. Dr. Janet Brenneman is the first local woman to conduct the WSO!  She is rehearsing us and performing with us.  I have sung under her baton many a time, for various works, and certainly the Messiah is one of them but I have NEVER performed under her baton.  It will be interesting to see how performance Janet compares with rehearsal Janet.  

Dr. Janet Brenneman (photo from CMU website)

Rehearsal Janet is well organized, efficient and relaxed. She is in her element. What I do know about performance Janet is that she will look like a million bucks, and will sport a commanding lipstick shade. Hopefully she will be unmasked. I am looking forward to experiencing all these firsts on performance night which is December 5th at the Centennial Concert Hall in Winnipeg. Get your tickets from the WSO Box Office.

Post COVID Choral Life?

 

Vaccination rates are above 50%, Winnipeg Blue Bombers are planning for full capacity crowds at the stadium and maybe, just maybe choral singing will return in the upcoming concert season.  It looks to me that the Corona Virus, named Covid-19, nightmare is coming to a slow end. ( I hope I did not jinx it by writing that.)   For the duration of the Pandemic choral singing was deemed to be a highly dangerous activity.  One of my choirs continued with a Corona version of itself and we recorded in small, masked voice part groups and our conductor was reduced to a sound mixing engineer.  This was better than no choir at all, but just barely.  The other 2 choirs did not even do this much, although one had a sing-along on Zoom, with us all on mute and singing to a recording which again, was better than nothing, but even less satisfying than the masked voice part recordings. 

When I looked through the upcoming Winnipeg Symphony Orchestra program I was delighted to see three choral concerts!  Handel's Solomon, Handel's Messiah, and Berlioz Mass.  I am hoping to sing in the latter two and am excited to attend the Solomon.  Ever since reading Jane Glover's book, Handel in London, in which she goes into some detail on his compositions, I have questioned why so few of his Oratorios are performed in Canada.  Perhaps, it's not just Canada but the whole world that is missing out?  Hopefully the WSO's inclusion of Handel's Solomon is the beginning of more Handel choral works to come.

A much more important question is:  Will I be included?  Will my conductors want me back?  Has this forced sabbatical given them an opportunity to discard singers?  Am I one of these?!  Will they realize that altos are easy to come by?  No need to stick with the old.  These anxious questions sit behind my latest need to do choral warmups in the shower, join Voce8 in their virtual rehearsals, sing the melisma passages in For Unto us a Child is Born and hold daily Happy Hours where cocktails soothe the anxious beast.  In answer to all the enquiring minds out there, yes, I sound much better after cocktail hour. 🍹🍸🍹

I hope my attempts to get in some kind of choral shape will be rewarded by a summons to sing with the WSO again and be allowed amongst the choristers, which is the most glorious place to be!  Everyone knows heaven is just one big angelic choir!  

CORONA COVID-19 CHORAL CHRISTMAS

 

What a disappointment.  Christmas 2020 was to be a high choral point, booked to perform Bach's Christmas Oratorio with Winnipeg Symphony Orchestra players and the vibrant Ms. Brenneman at baton.  Cancelled.  Bah Humbug!

Instead I sang some Christmas Carols in my closet into my iphone microphone and sent them off to my church conductor at First Mennonite, where he tried to mix this and 20 other tracks into a whole for the Christmas eve church candle light service.  When one is doing their performance singing alone in the closet one needs to keep the end result in mind and imagine fellow singers around the city doing likewise, or else it is just too depressing.

This Christmas Eve day, I could not travel to the country to spend the day with my in-laws so I did this:

Brought my blue Baerenreiter score to the treadmill, put on this performance of Bach's Christmas Oratorio and proceeded to walk and sing.   Usually I watch Karajan and his impressive sing- from- memory choirs but this choir from Lucerne was holding the same score I was so they made me feel welcome.  Benefits of this type of performance over traditional one.

1.  Lack of breath control?  "Uh, Maestro, I am on a treadmill don't you know?"

2.  I was able to give the bass soloist support during Grosser Herr, Starker Konig without the conductor kicking me off the stage.  In fact, I am pretty sure he gave a nod of approval.  But it was hard to tell with sweat in my eye.

3.  Can perform the Jauchzet Frolocket whilst looking at the joyous faces of my fellow choristers!  Very fun!  

4.  Notice that the women, demurely have their scores open on their laps during arias while the men have them closed, thumbs in position and bright blue blasting from their laps. Classic.

5. Goes without saying that everyone in attendance loved my renditions of Bereite dich Zion and Schlafe mein Suesser with the support of the Swiss soloist on the screen of course. 

6. Doo-Doo- ed the first violin parts during introductions without consequence, although the guy in First Chair did raise his head and look around for a second, he did not give me the icy stare I would expect from the players here. 

Other musings while walking and singing:

When the flute began to usher the shepherds down their hills I missed seeing WSO's Jan, he of the great hair, rising from his chair,  Instead in Lucerne it was a woman around my age.  

Soprano soloist sang from the back balcony for her little part in Teil II and does not come to stage at all until Teil III  She doesn't sing in Teil 1.  Thanks Bach, for giving the alto soloist all the good part in this piece!  Even on my basement stage, a soprano I am not.

It was an ok way to have a choral performance experience but it was just one notch better than nothing.

Social Distancing and the Choral Life

This was a requiem season like no other in my choral life.  Due to health directives issued in response to the COVID-19 virus, it was a concert free zone.  That very condition requires a requiem of its' own.  Choirs have attempted ways to carry on in the new environment. I am sure you have seen the laughable attempts to hold a choir rehearsal on Zoom or even sing a simple Happy Birthday.  It doesn't work.
Besides the loss of not being able to rehearse together with others is the loss of concerts I rehearsed for but could not perform. Their dates passing without the requisite concert week marathon rehearsals preceding them and no dressing in performance wear meeting backstage in nervous anticipation.  Among these were Berlioz Messe, Beethoven Mass, Dvorak Te Deum all with the Winnipeg Symphony Orchestra, a collaboration I treasure.  In addition was the much anticipated and so beloved Brahms Requiem with the First Mennonite Church Choir.
Some of these concerts are cancelled, some postponed.

One would think I had used my rehearsal free evenings to look at the scores and prepare for postponed concerts but one would be wrong.  The singing I have done, much too loudly, has been belting out tunes with Elton John and ABBA and I do a pretty good rendition of Brown-Eyed Girl.
My concert scores have remained closed receiving only glares as I pass them by.

Then came the unexpected.  My work-life mandated a Wellness Morning as part of a professional development day.  We were to watch videos sent by our boss, reflect on them, and choose a wellness activity in a mindful purposeful way.  This is easier said than done.  What to do?  Can't go for a manicure or a massage.  Could go for a walk but this is part of my daily routine already.  A helpful sister suggested I watch Judge Judy since hearing her call out, "idiot" can sometimes be as satisfying as a massage.  I realized that I would rather spend my mornings working than relaxing.  I am a work first, then relax sort of person.
In the midst of the stress of deciding how to practice wellness Haydn and Brahms called out to me and I got them off the shelf.  I laid out some of the scores of music I will, hopefully be performing in the next concert season.

Beethoven called out the loudest so he and I headed down to the TV where I pulled up a performance of the Mass in C.  This was not as easy as it sounds.  I am fussy.  I wanted one where I could watch the singers and the conductor, and I wanted them to be good.  Finding none with Herbert van Karajan, my go-to YouTube conductor, I opted for this one out of Germany https://www.youtube.com/watch?v=4UzITmh5BD0  I usually choose European choirs. The reason being they are most likely to sing without score in hand.  This choir, sadly did not.  Nor did the soloists.  Still I didn't want to waste anymore time finding the "just right" sing along choir.  

As the opening Kyrie began I became distracted by the treadmill visible from the corner of my eye, so I got on it and proceeded to sing and walk simultaneously.  The treadmill hummed in the wrong key, loudly, and my huffing and puffing did not allow for breath control required in most movements. This was less than ideal for rehearsal purposes, but since the performance of this will be way in the future it sufficed.  

Some pleasant surprises.  In spite of not rehearsing for weeks my vocal range has not suffered and my memory of the piece was solid.  Coming across my various pencil  markings made me smile and I took heed of them:  "tempo" "torturned soul"  "NN" (there are 2 n's in Osanna), the circle around the time signature 12/8 of the Agnus Dei and the ever present arrow pointing up indicating to not sing flat. ( Oh dear, the cardinal sin that requires a blogpost of its own.)  When at last we reached the Dona Nobis pacem, the anguished demands and cries for peace, my soul was moved.  Beethoven was writing this during the Napoleonic wars therefore his cries have gravitas.

After the applause and the soloists and conductor had taken their bows I got off the treadmill feeling grateful to Beethoven and all performers who have kept his music alive over the years.

Did I derive meaning from choral music without my choir?  yes.  Is it enough?  No.  I yearn to gather with fellow choristers and look forward to the first post COVID-19 rehearsal.  What a day of rejoicing that will be!

Advent Season 2019

This Advent season I sang in two major concerts.  The first, on December 1st,  being a church concert with 5 small pieces.  2 Stanford Magnificat settings, 1 Schubert Magnificat setting, 1 Mozart Magnificat setting and Mozart's Coronation Mass.  Yes, all this in one concert.  We had beautiful soloists in Howard Rempel, Michael Martens, Anne Marie Dueck and Karis Wiebe, and a lovely little orchestra all under the direction of Yuri Klaz.
This was my first time singing Stanford, and although we are not Anglican I think our mainly Germanic choir did okay with is pretty pieces.  I do feel the these beautiful reflections of Mary, the Magnificat, are lovely words to sing out during Advent.

Maestra Jane Glover, this concert was my 3rd with Glover whose gaze can cut you to the quick.

      The second of my concerts was with the CMU Festival Chorus as guests of the Winnipeg Symphony Orchestra, under the baton, make that, under the baton-less hands of the indomitable Jane Glover!  Jane performed the entire Messiah without baton and score!   She took some glorious liberties with tempo as in a grand ritard (not at the end) in the Hallelujah Chorus which she described as 'vulgar and Victorian" and thanked us for indulging her.  She called the opening of Worthy is the Lamb a choral recitative and declared there was no regular tempo there so we would all just have to watch her.  To the orchestra she said, 'I am still hearing bar line.  I want to hear syntax.  This is choral recitative."
      Her lovely expressive hands, body and face conveyed everything instrumentalists, soloists and choir required.  During "they rebuke" Ms. Glover's face was near collapsing, whereas in the "he trusted" movement she looked so vile and horrid that it scared even the basses in the back row!  Jane pays homage to Handel with every movement.  During, the soprano aria, "I know that my Redeemer liveth" Jane looked completely radiant.  She gave much of herself and expects, nay demands, the same from all of us!  She can be completely terrifying and is not one to mince words.  At the dress rehearsal, where conductors are always pressured by the union clock, she stated at the end , "there have been a lot of intonation problems in the orchestra tonight and if I had the time I should like to go over then but I trust you to take responsibility for intonation when you are getting paid."  Of course, this kind of talk gives a little boost to unpaid amateur choristers.
At the opening of our concert at the Centennial Concert Hall, Saturday December 7, 2019 the Symphony's executive director, Trudy Schroeder actually thanked the choristers for giving their time and talent to this Messiah.  This is the first time, that I can recall, the Symphony publicly thanking us like this.  It was very appreciated.
The CMU Festival, although able to perform great works, is a collection of amateurs who are all busy with their day to day lives and who sing for pleasure.  They spend a full work day at their real jobs and then come together to rehearse works as a labour of love.  When we perform, it is our happy place.   This is in contrast to the WSO players who are actually at work when performing and do other things for fun.
Soloists for this performance were Andrea Lett, soprano, Andrea Hill, mezzo, Zach Finkelstein, tenor and Stephen Hegedus, baritone.
You can read a review of the performance here.
MANNO, I MEAN, MENNONITE VS. LONDON ACCENT
A little tidbit from our first choral rehearsal with Ms. Glover:    Anytime we were singing a long U vowel sound such as in Hallelujah or the to of Unto Ms. Glovers discerning ears heard an umlaut.  She was quite visibly affronted by this sound.  She asked, quite incredulously, if this was a Manitoba accent and without waiting for an answer said to, "get rid of it."  Then it led her to tell, what she thought was an utterly hilarious anecdote about the mezzo Janet Baker who was so accustomed to singing Lieder that when needing a ride to the concert hall in London asked for someone to call her an Über.  Some of us offered some polite laughter but inwardly we puzzled, "you mean its not pronounced Über?"

Requiem Report

Here I am in the slump between Requiem season and Advent.  Yes, I know it is a rather long slump and it surprises me every time how sad I feel after the last big performance of the season.  By now you know I need to be working on a choral work, no matter how busy I am in my other life.  I won't be rehearsing a major work until September!
One way to get out of the slump is to relive the recent choral experience by writing about it.
VERDI REQUIEM -a choral highlight was performed in March 2019 with the CMU Festival Chorus and the Winnipeg Philharmonic Choir conducted by Daniel Raiskin. I had earlier worked with Raiskin, notice how I can say that even though he is oblivious to my existence?  I continue to be intrigued by the individual chorister's knowledge of the work personality of a conductor while he/she remains ignorant of the individual  chorister and sees only this large mass of singers.   So back to Raiskin.  I was looking forward to working with him again because I had rehearsed and performed the Messiah with him in December and found him to be an excellent conductor for choirs!  This was a surprise because many orchestral conductors are not so.  Raiskin has a very clear beat combined with passion and the occasional jumping jack from the podium.
The venue, however, was not ideal and although the chorus was large we had to be slightly "miked".  This is not the best and some audience members did complain about the rather tinny sound in some parts.  This is because the Centennial Concert Hall is still without it's acoustic shell.  This is a travesty!

Giuseppe Verdi

Still the Verdi Requiem is a dramatic, grand scale work, with soloists and a huge orchestra and choir blasting away together, and then plaintively coming apart.   It is stunningly beautiful in parts and also downright frightening in others. I was thrilled to have a 2 night performance of it!  In fact I wish I were part of a permanent installation of it so I could sing it night after night to my death!  The Verdi does not come around that often, I sang it last 5 years ago, so I don't know how many more Verdis I will be allowed to be part of.  5 years from now I will be quite an old lady and the thought of being rejected from the choral stage is anxiety producing!  Mama Mia please let there be a few more Verdis coming from me!

Anton Bruckner

Bruckner Requiem is the next piece I worked on.  Never heard it before and yet I liked it from the first rehearsal on.  It has some beautiful parts in its short little life of 30 minutes.  Most notable is the men's chorus singing Hostias.  This work was performed with my wonderful non-auditioned church choir and a small orchestra which boasted WSO players amongst them.  Soloists Anne Marie Dueck, Karis Wiebe, James Magnus, and Howard Rempel were lovely!  The stellar Yuri Klaz was our conductor. It was truly enjoyable to learn a new work.  Alongside it we also presented Mendelssohn's unfinished oratorio, Christus.  This follows the Bach passion recipe of a tenor evangelist, (James Magnus) narrating the scene of screaming chorus crowds.  First Mennonite Church Choir loves performing anything by Mendelssohn and so of course we only wished it was a finished Oratorio so we could sing more of the same!  If you clink on the FMC choir link above you will hear us in a performance of Christus.

Now that it is over I must look ahead and see what is on the choral horizon for me.  I certainly will be joining the incomparable Jane Glover in presenting Messiah in December 2019 and I am crossing my fingers to receive an invitation to sing the Berlioz Messe Solennelle.  A work I have never sung nor heard until just now when I used it as my soundtrack to write this blog post.  Fingers crossed that next year at this time I will be performing it!  It's on the WSO listing for April 24, 25, 2020!

All Good Things 3 Times!

Two contrasting pieces, two French composers, two conductors, add in one orchestra and the Winnipeg Philharmonic Choir, in one French cathedral and you have a wonderfully interesting week!

Two composers and their contrasting pieces are Francis Poulenc's Gloria, at once playful and stirring and Faure's melodious long-lined Requiem.  Monsieur Poulenc's score has some French cinema / restaurant style music coming from the orchestra.  It was composed in 1959.  At the first rehearsal I thought I would never be performance ready as the musical lines which are playful in performance are just unpredictable accidents in rehearsal.

Francis Poulenc

As an amateur singer, a score full of accidentals and multiple time signatures like this one just makes me fearful!  With some one- finger keyboard pounding at home and time spent with my best friend, www.cyberbass.com, I came to be able to playfully hum all the movements from the Gloria while going about my day.  It really is in my ear, head and heart now.
 In movement 5 I couldn't help feeling that I was walking in Paris at night, the Notre Dame Cathederal near me, crepe stands around the corner, a cabaret in sight and Edith Piaf singing in my ear.  As an overtrack to that comes the soprano plaintively calling "Domine Deus"  (Lord God) "Qui tolis pecata mundi"(who takes away the sins of the world)  Here in the French night, plaintively and uncertainly calling out for redemption.  It haunts me.  I challenge you to listen to the opening bars of movement 5 and see if you are not immediately brought to Paris. Other of Poulenc's movements, such as the 2nd are light and playful, with the composer having imagined monks playing football (soccer).  The light footwork, passing back and forth, and the joy of the game are evident.
Our soprano for this concert was Lara Ciekiweicz.  Lara has a dramatic singing style which immediately draws in the audience.  Lara has a charming practice of sending a card on opening night to the choirs she works with.  I find this to be a nice touch.  In her earlier life, before fame, she was a chorister alongside me with the Mennonite Festival Chorus.

Lara Ciekiewicz

Gabriel Faure  

The second half of the concert was the melodious and comforting Faure Requiem.  The popular Pie Jesu movement is perhaps the best known and is only soprano soloist and orchestra. Faure did write a beautiful requiem here but he really did not give much for the alto chorister to do, and there is no alto soloist either. In  2 out of 7 movements I was forced to stand there, score in hand and mouth closed for practically the whole piece.  In the Sanctus the altos sing only the last two bars, literally!!!!  Does he have unresolved issues with an alto and this is his way of dealing with them?   I don't get it!  Why make us stand there while the sopranos and the men sound so beautiful around us, clearly stating, ALTOS ARE NOT NEEDED and then at the last Sanctus, giving us one note to sing just to round out the chord.  HUMPFF!

The altos do have a nice duet with the tenors in Movement 2, that is, it could have been nice, but as our conductor told us after the first two performances, "Altos you are having trouble with intonation, well, sorry but you are flat, I have to say it, sorry."  Not exactly the thing you want to hear.  I am sure not much changed at the 3rd and last performance but our conductor was much too kind to tell us this.  Maestro Klaz has a firm practice of only stating the positive, once there is nothing left to be done.  He will teach and coax and reprimand right up until the last possible  moment of the last performance but once it is done, he has left it all on the stage and will insist that you were absolutely lovely!

So the very odd thing about this concert is that we performed it 3 times instead of the usual 2 and that we had 2 performance conductors.  This, I have never experienced.  The two conductors, Alexander Mickelthwate and Yuri Klaz  are quite different.  This was Alexander's last choral piece as WSO conductor and most likely the last time I will ever work with him.  Although he is a very pleasant man and not demanding of the choir, he is seriously lacking a downbeat and for this reason I am always nervous when performing with him the last 12 years.   In fact at the second performance the second movement, yes the one where the altos were flat, he was so seriously off the rails that the tenors, orchestra, and altos were all in different parts of the score.  So, this second performance was on a Saturday night, but earlier that same day we had a dress rehearsal with the other conductor, Yuri Klaz, whose tempos were quite different from Alexander's and whose conducting style is so much clearer.  It is a challenge to  rehearse so thoroughly with director 2 but perform a few hours later with director 1, then the next afternoon you are back with 2.   I heard from many choristers that they wish Alexander had attended the third performance as he would have heard a more passionate and much more accurate rendition of the concert.  There was no uncertainty on entries or endings at this last performance which was a big contrast to the other two.
Lara was the soprano soloist for the Faure and Matthew Pauls, the baritone.

All 3 concerts were sold out and this is a thrill to a performer!

Messiah 2017

G. F. Handel

This year is the Messiah that I almost didn't perform.  Some would say that is hardly a sad thing, but this chorister has yet to tire of performing Handel's great oratorio.  This great composition never languished in dust, as Julian Pellicano mentioned in his pre-concert talk to the audience, but was performed the year it was composed (1741) and every year after that.  I am thrilled to perform it over and over again. (although I came on the scene a few years after composition)

Imagine then, when earlier this year I scanned over the Winnipeg Symphony Season catalogue and found that listed under Messiah was WSO Chorus - a choir I was not a member of nor had ever heard of.  I went into panic mode!  Who was this choir?  Who was the conductor?  Why were the usual suspects (Winnipeg Philharmonic and Mennonite Festival Chorus)  taken off of this gig?
I messaged the WSO executive director who replied that the board was just looking at different choirs.  "yes", I anxiously replied, "a change can be good but who is this WSO Chorus?  It is their name that scares me!!  It sounds like if you ever want to sing with the WSO again you best be part of this choir."  To this there was no reply.

A few weeks later a friend texted me an image of their TV screen and on it were the words WSO Chorus auditions and an email address.

You can bet I emailed that very minute hoping to get in on my resume alone.  This group would have none of that and rather insisted I send in an audition.  They wanted to hear two choruses from Messiah.  Two from an approved list of 3.  Oh brother.  By now it was summer and my voice was in relaxed mode.  Having not sung for weeks I felt quite out of shape, vocally.  I sang around the house for a few days and then proceeded to record myself singing along with a recording.  Now, as my family knows, singing with a recording is what I do best - haha!  I blast out every choral part I can and of course bellow along with the soloists too.  So it was with my audition recording.  Yup - when the chorus was done the bass soloist and I rang out, "Thus saith the Lord, the Lord of hosts" OOPS!  Now what?  Not being very electronically savvy and not wanting to re-sing the piece as this had been my 3rd go that afternoon, I decided to send off the recording with this very embarrassing bit at the end, indicating that I was also auditioning for the bass solo part.
After a few agonizing weeks of waiting I received the joyous news that I had passed the audition and was now a member of the WSO Chorus!  I was elated!

I arrived at the first rehearsal much like a young soccer player arrives at the provincial team's first practice. Happy to have made the cut, but anxious and insecure.  This feeling was palpable in the rehearsal room.  We were competing against each other, scared someone would take our spot, worried we wouldn't measure up.  There was not the usual choral camaraderie.   There were only 2 familiar faces in the room, which was odd considering I have sung in choirs in this city for 4 decades.  The 3 of us were from the Mennonite Festival Chorus which has performed the Messiah with the WSO many times.

The rehearsal conductor, John Wiens, indicated that this was only 70% of the choir and that the rest would come later.  The rest, it turns out, were members of Polycoro, a local elite choir.  This, 70% of second stringers rehearsed 2 or 3 times prior to having the pros join us.  For me the rehearsals were something like this:

first rehearsal:  I cried on the way home because the conductor had indicated, in my general direction, that vibrato was not a welcome sound in his choir. "Well", I thought," I guess I won't be singing in your choir then."  It was like telling a left-footed kicker that no left foot shots were allowed.  Now, I try to produce a straight tone and I know that too much vibrato is awful but I didn't think I was at that stage yet. So now I had two choices, I could quit or I could use his techniques to improve my sound.
After the tears I decided to keep practicing.  I took to heart his advice about balancing the body, opening up space at the back, letting the sound fall out, not worrying about sounding good,..etc. All the things my voice teacher, Diane Berger used to say.

Wiens Warm-up

2nd rehearsal: I thought I had landed in a choral comedy sketch.  John Wiens had us twirling our fingers around our lips then pulling hand back while pointing at ourselves and breathing out and then bringing our pointed finger right back to our lips while breathing in.  Say What?!?  I couldn't decide whether he was genius or idiot.  This was going to be a very different Messiah.  We second stringers were struggling to blend our sound.  In the soprano section was an 11 year old boy, in the tenor section was a woman, there were only 4 basses, among the altos was one old lady (that being myself) and a 16 year old girl.   I was singing about 50% of my capacity in order to blend with the voices around me, many of which had a Broadway musical sound to them, which it seemed is what he wanted.  On this ride home I predicted this choir would never be able to cut through an orchestra.  It is too small, and too weak.

subsequent rehearsals:  Then came the 30%!  And the difference they made was 100%.  Their professional voices were able to coat all of ours, fill in the gaps, and we began to have a blended sound.  I was feeling hopeful.  Voices like Sarah-Jo Kirsh in the soprano section and Sarah Hall in the alto took things up several notches.  John was fussy about voice placement and moved choristers around during rehearsals to get the right sound.  I had read about this technique but never experienced this in action and I enjoyed the process; because in the end I  received  two seatmates with whom I felt I could blend. I decided he was not an idiot.

 Our rehearsal conductor and our performance conductor, sometimes referred to as the real conductor, Julian Pellicano, were much concerned with this Messiah sounding crisp and light.  It had to be a contrast to many classic recordings of the works and to past WSO performances with larger choirs.  They were agreed on this.  Neither of them offered us much by way of passion or talks about their vision of the work except by way of technique. In other productions with the WSO there has been a fair amount of time spent talking about the message of each movement and how the text and music work together.  This was not the case here.   I do not know if this is peculiar to these two conductors or if this is  how one speaks to choirs with so many professional singers.  Still, I did use Ivars Taurins' (a conductor I have written about in past posts)  images of the various movements to help me and give me pleasure.  There were singers in this group who had never sung the Messiah and I wondered what they were using for inspiration.

It was this that gave me a revelation, (yes this old girl is still learning).  Technique and correct interpretation is enough.  The singer does not have to feel emotion to convey emotion.  The singer needs only to convey what the composer and conductor have asked you to do.   If one places the consonant at the exact right moment and crescendos and decrescendos at just the right point in the phrase, with the right notes in the right place emotion will be conveyed.  The singer's feelings are irrelevant.  The performer's attention to and execution of every detail is what counts.  

The soloists in this production were all local singers known and loved by Winnipeggers.  In my unprofessional opinion the soprano, Jane Fingler, sings the way she looks.  Angelic, pure and lovely. I do not know if her voice carried well in that hall.  Dan Peasgood was the counter tenor.  I have  never been a fan of counter tenors as they are competing for my job.  Isn't it enough that they can sing bass or tenor, now they want to go after my notes too?  I once sang in a choir with Dan and he is a very pleasant fellow but he kept singing my notes.  When I sing beside a man I automatically try and  harmonize with him and Dan refused to let me do this; he was always on my notes.  I am clearly not the one to assess his performance as to me, "He was Despised" needs to be sung by an alto. (said the alto) Tenor, P.J. Buchan was stellar and to my ears, far outshone all the others.  He was truly comforting in his opening aria and was brilliant in his "Thou shalt Brrrrrreak Them" later on.  The bass voice was Chris Kornelsen who was fine in his early offerings but in "The Trumpet Shall Sound,"  his voice did not ring out but was rather muffled. 

Julian Pellicano - WSO conductor in residence

  

It surprised me that on the performance podium Julian Pellicano was full of passion, mouthing and sometimes singing along with choir and soloists.  This side of him was not revealed during rehearsals.

By the end of the first performance some barriers in the choir had been broken and more smiles and words were exchanged.

There was no review of the concert in our local paper and I have not spoken with enough critical ears to know how it sounded in the hall but I enjoyed the view and the sound from my vantage point.  I am fairly sure it is the best soprano section I have every sung with.  They were able to beautifully sing high G's as mezzo piano which very few choirs can do.   I came away from this Messiah thrilled to have been able to sing with such fine singers, gratified that I had tried new vocal techniques, warmed by Handel's music and message, and grateful to perform with the huge talent that is WSO. 

Schubert and Brahms

Franz Schubert

This month I was able to perform two pieces from the romantic period in one concert with the Winnipeg Symphony Orchestra under the baton of Yuri Klaz.
Klaz is primarily a choral conductor but has conducted the WSO on several occasions. 
It was heartwarming for this chorister to see that the musicians behaved as though they had respect for Yuri's musical ideas and a genuine warmth seemed to emanate between the orchestra and conductor. 
I have seen many conductors mount the podium and gaze out over this orchestra, I have seen more than one wilt and be meekly led by the concert mistress herself.  On the other hand  I have shaken in my boots as tongue lashings occurred from podium to timpani and condescending remarks were hissed out at various instrumental sections.
The rehearsals for this concert had none of that.  Respect for the music and one another was the hallmark of these rehearsals.  Instruction and response seemed natural.
This conductor even handled the union master's annoying penchant for stopping rehearsals at just the wrong time with good humour.

Even if this respectful relationship had not been the case I feel the music would have smoothed over any difficulties. 

The glorious pieces we performed, the we being the Winnipeg Philharmonic Choir, are not that often performed here in Winnipeg, and in fact it was my first time for either piece!  Given my age it may also be the last, which is truly a sad thought!

We sang the Brahms' Nanie and Schubert's Mass in Eflat.  Recordings of the pieces are linked to their titles.  The Brahms piece is a secular piece written for the funeral of a friend.  The text is a Friedrich Schiller poem. (same poet who wrote the Ode to Joy text)   It is written and was performed in the German language but here is the English translation of the text.

Even the beautiful must perish! That which overcomes gods and men

Moves not the armored heart of the Stygian Zeus.

Only once did love come to soften the Lord of the Shadows,

And just at the threshold he sternly took back his gift.

Neither can Aphrodite heal the wounds of the beautiful youth

That the boar had savagely torn in his delicate body.

Nor can the deathless mother rescue the divine hero

When, at the Scaean gate now falling, he fulfills his fate.

But she ascends from the sea with all the daughters of Nereus,

And she raises a plaint here for her glorious son.

Behold! The gods weep, all the goddesses weep,

That the beautiful perishes, that the most perfect passes away.

But a lament on the lips of loved ones is glorious,

For the ignoble goes down to Orcus in silence.

Just reading the text I can hear that it was meant for Brahms!

 

The Schubert mass, his last one, and in fact he died before it was first performed, is much more difficult to sing than his earlier ones.  I was quite surprised when I came to them that the fugues required a fair bit of work and were  trickier than one would expect of Schubert.  This made rehearsals fun, and provided great satisfaction when they appeared light and fresh at performance time - at least I hope so.
Schubert did not write much for the soloists to do.  He gave them only quartet /trio work and usually meshed them into a choral piece.  This meant that neither my voice nor body received much of a rest during performance, as there were no arias where a chorister could rest up!

The Philharmonic choir, most notably the alto section, was very welcoming to associate singers and I appreciate them for it.  I have been singing as an associate with this choir since 1980.  Back then they were known as The Winnipeg Symphony Philharmonic Choir and had their rehearsals at the concert hall with a grand piano.  Now they rehearse in a crowded high school theatre with an electronic keyboard and yet manage to yield good results!  Bravo!

small glimpse into 2016

I have not posted in over a year.  I miss reflecting on my choral experiences but I have been so busy with career and family and singing that I have not had time to reflect. 
A choral highlight occurred in the spring of 2016.  It may be THE choral highlight of my life.  I have performed the 15 movements of the Rachmaninoff All-Night Vigil under the baton of a Russian conductor.  What I say about that experience is this:
Luxurious, heavenly and profound.

Rehearsals were deeply emotional with profundo basses providing a deep foundation one could wallow in.  It is sung accapella and the long legato lines can be challenging.  The alto section is split into 3 parts and I was put in the third part which made me very happy.

I doubt whether this chance will come my way again before I die  so I savoured every rehearsal and every minute of performance, feeling extremely empty when it was done.

Christmas 2016

Christmas 2016 brought me another Messiah.  I have been singing many of these lately as the WSO has decided to make this an annual event.  It is kept interesting for the chorister by having guest conductors coming in.  This time it was Tania Miller who presently works out of Victoria B.C.
The choir loved her instantly as she appeared to be very impressed with our tone at our piano rehearsal.  She gave us many compliments and we responded well to her suggestions.  She was clear in her direction and in tune with the text.

The next day we rehearsed with orchestra and although I love the WSO dearly, they, true to form, were stand-offish with the Maestra.  To be fair, not all players reacted this way but there were clearly some with great looks of disdain.  At one point the first violins were asked to play their line in a different way (wish I remembered more details) and the concert mistress argued semantics with the conductor, "You mean do a fill in some term here?"   and  Ms. Miller responded, 'I doubt it is called that but if you want to call it that".  They were counted in again and the passage still was not up to expectations and the Maestra turned to the concert mistress and said, "Look, if it is too difficult for you you don't have to play it."
Woah!  Looks were exchanged in the choir loft and we were grateful for the anonymity choral singing provides. 
Tania had a stroke of genius in the second half.Sshe announced to the orchestra, "Oh by the way Andrey says 'hi" to you all."  Looks darted around the orchestra,  um, did she just say Andrey?  Oh yes, she did.  Andrey of course is the WSO god Boreyko who is worshipped by most who have worked with him. By invoking him and her personal connection to him the orchestra would have no choice but to comply with the Maestra's wishes at first asking.
Now, as a chorister it is possible I misheard but it is what I heard and there was more compliance from this moment on. 
The next day was dress rehearsal with the soloists and the choir could get used to the new "sits" ad "stands", as one must with each new conductor of the Messiah.   It  all went very smoothly.
We  then  had two evening performances, which I always appreciate over just one.
They both came across quite well, I think.  Handel always able to deliver!

Making the Case for Scaglione

Photo of CASE SCAGLIONE by Christian Steiner

I have just finished two nights of Messiah - yup - 'tis the season.   Our conductor was Case Scaglione.  I was singing it with the Mennonite Festival Chorus and the Winnipeg Symphony Orchestra.   This was not our most inspired Messiah - that belonging to Ivars Taurins, and perhaps not the most strange and interesting interpretation - that was Noel Edison but neither was it lacking in charm.
It may have appeared slightly lacklustre as the orchestra was clearly void of most of its principal players and it seemed rather obviously so at the first two rehearsal. Adding to the less than stellar rehearsals was the Maestro's laryngitis which left him unable to make any demands on us. 

In spite of this I enjoyed the process because he was a very generous soul, conducting a good beat but never over conducting leaving soloists, players and choristers somewhat free.  He didn't make strong demands on diction but he strongly favoured legato singing and asked for it in places not usually required.  (Let us break their bonds, With his stripes, Amen, and others)  He blew us kisses from the podium and was generally kind with his praise.  He wanted more from the alto section and the powers that be should perhaps consider auditioning more singers for our section.

A distinguishing feature of his Messiah was, that he laid down his baton for the "And with his stripes" and conducted the choir bare handed and required no orchestra whatsoever.  Something he witnessed Sir Colin Davis doing in London.  A Capella singing in a concert hall is a rare event and I hope we pulled it off.  There was no critic, unless I count my husband, in attendance so no review in our local paper therefore not sure what the audience made of this feature. 

Although some may feel bored by performing Handel's Messiah every year, I feel lucky to be able to sing this great work under various batons and getting something new out of it each time.

Of Cake and Trumpet Jabs

Below I have re-printed the review from the Winnipeg Free Press of my latest completed concert even as my mind is looking towards the Good Friday Concert 7pm at First Mennonite church.  There we present Schubert's Deutsche Messe and Rutter's Requiem. 

 

I thought today I would take you behind the scenes of the Beethoven 9th concert to a view from my spot in the choir.  Like the fact that I was repeatedly being blinded by the baritone soloist's shiny shiny shoes.  The soloists for this performance were unusually placed i.e. they were not in front of the orchestra but rather relegated to stand with us  in the front row of the choir, on a little raised podium in case the shiny shoes and fancy gowns were not enough to let you know they were the soloists.  Mr. Baritone also owned a very nice collection of striped socks. ( His beautiful opening to the 4th movement of the Beethoven's 9th is wrongly credited in the review below to the tenor - which is a sad thing since tenors already receive more attention than is necesssary.) 

During this rehearsal I was disheartened to observe the little respect was given to the Maestro by the players.  Granted he does remind one of Peter Pan but he loves Beethoven and so we should allow him to present the Beethoven he wishes instead of opposing him every way we can. 

During one rehearsal "Unbirthday" cake was served for a returning viola player, the Maestro's baton landed in the cake at downbeat and icing was flung on face for beat 2.  So, yes it may be difficult to take seriously the instructions of a conductor with icing on his face but I was hoping they would at least try.

There was decidedly  much chit-chatting from the brass section during rehearsals, and I thought they would never be able to do this if Andrey Boreyko were still at the helm.  The withering words oozing over one who dared cross him is not a comfortable thing to witness. 

I will not reveal all the antics witnessed from this privileged position as some items are best left on the stage but will reveal one last moment that was quite comical. 

The third movement of the Beethoven's 9th is a beautiful serene piece that requires no trumpets until the very end.  During the performance, as we neared the end of it I see the 2nd trumpet player lifting his instrument from the stand preparing to play, he then suddenly jabs his trumpet into the tuxedoed leg of the principal trumpet player who jerks himself awake picks up his instrument and 3 beats later is playing beautifully.  The trombones and the first row altos shake with laughter as Beethoven goes on.

 

 

WSO brings the spirit of Beethoven to life

Standing ovation for inspired performance

By: Holly Harris

    

There is some music that seems to grow only richer and more resonant every time you hear it -- and particularly when performed live.
Beethoven's Symphony No. 9 in D minor, Op. 125, popularly known as the Chorale, is one of those whose message of universal brotherhood based on Schiller's Ode to Joy has also grown more timely -- and more needed -- than ever.

CONCERT REVIEW
Winnipeg Symphony Orchestra
Masterwork
Beethoven's 9th
Centennial Concert Hall
Friday, March 27
Attendance: 1,234
Four stars out of five

The Winnipeg Symphony Orchestra's latest Masterworks concert held Friday night featured the stirring work with its last performance held in May 2013. The program led by Alexander Mickelthwate included guest soloists: Joni Henson (soprano); Elizabeth Turnbull (mezzo-soprano); John Bellemer (tenor); and Stephen Hegedus (bass-baritone) performing in both the evening's programmed works.
Also showcased were two of this city's busiest and hardest-working choirs this year: the Winnipeg Philharmonic Choir (Yuri Klaz, director) and the Canadian Mennonite Festival Chorus (Rudy Schellenberg and Janet Brenneman, co-directors).
The first of two weekend performances also caps the WSO's 2014-15 series of several concerts informally dedicated to human rights, in turn celebrating last autumn's long-awaited opening of the Canadian Museum for Human Rights.
It's always a pleasure seeing a conductor lead music from his homeland. The German-born maestro approached Beethoven's magnum opus with gusto and conviction, setting a brisk tempo during opening movement Allegro ma non troppo, un poco maestoso.
The following Scherzo: Molto vivace -- Presto hurtled breathlessly to its own double-bar close, including exuberant brass and bone-rattling timpani strikes.
By contrast, the Adagio molto e cantabile presented calmer vistas including mellifluous winds and noble horns evoking the peace of a German countryside. Still, this central movement that provides a measure of repose could have ebbed and flowed even more, before the trumpet fanfare toward the end that signals even greater things to come.
After the low strings' delicious opening statement of the principal theme that launches the finale, Bellemer introduced the chorale with his soaring, recitative evocation to "friends."
The four soloists presented as a remarkably well-blended ensemble throughout, with Bellemer a particular standout with ringing high notes and legato phrasing. Each singer only added to the whole gestalt in a satisfying performance.
It's one of classical music's most thrilling moments when the chorus dramatically rises for their first entry -- and this performance did not disappoint. Hearing the totality of the epic work's four movements unbroken by applause by a clearly enthralled audience would have only heightened its overall, cumulative power.
Nevertheless, those same 1,234 souls leapt to their feet at the end, awarding the maestro, WSO players and the full stage of choristers and soloists a rousing and well-deserved standing ovation.
The first half of the concert also featured Anton Bruckner's Te Deum, another mighty work composed in 1883-84 as a heartfelt hymn of praise and thanksgiving. It's one that isn't heard often in this city, with its last WSO performance in 1987.
Balance between chorus and orchestra is often very tricky with these types of concerts, akin to walking a musical tightrope. The choir's words could be clearly heard during the more lightly scored sections with strings; however they were often obfuscated whenever the brass came in it. They were at their best during the several a cappella sections.
Still, including this equally memorable work with its soaring choruses and "cathedral sound" added to the overall spirit and ethos of the inspired evening.

Republished from the Winnipeg Free Press print edition March 28, 2015 B5

Requiem Season 2015

For this chorister this is a great time in the Choral season-  Requiem Season.  Requiem music is usually the most beautiful of all the compositions.   This season I am delving into Rutter's Requiem, Verdi's Stabat Mater, Faure's Messe basse and my all time favourite Brahms' Requiem.  As a Bonus I will also be performing the, Decidedly not Requiems,  Beethoven's 9th and Bruckner's Te Deum. 
I have and am so enjoying them all!

The Rutter is being prepared by my church choir to be performed on Good Friday 7pm while the Verdi, Faure and Brahms were performed on March 1st  with the Winnipeg Symphony Orchestra and the Winnipeg Philharmonic Choir..
As I have mentioned on this blog before, Brahms writes so beautifully for the alto voice and his music is so heart searing that I leap at any chance to sing this work and have been fortunate enough to sing it many times.   The choir has many non-german speakers so it is not like rehearsing with my Mennonite church choir.  One hears many mispronunciations along the way which can be jarring to both Brahms and I.
 Jarring to my conductor during rehearsals was how we sound.  Ha!  He was obsessed with getting the choir to rid themselves of, what he calls, "the bowtie sound".; the childlike sound produced by a fallen palate has opposed to a raised one.  He will mention it 6 or 7 times in a rehearsal and it is very embarrassing when he looks my way, gestures the pulling of a bowtie around his neck, and asks, "Why are you singing like that?"  I comfort myself by looking down and assuming he is referring to the bowtie singer behind me.  : )
In spite of this the concert went off well and you can read a review of it here.




The Bruckner and Beethoven will be performed by two choirs who are being prepared by two different conductors and then will be presented to Maestro Micklethwaite at the appointed hour.  This will be interesting because both conductors have very different styles and different ways of pronouncing the Te Deum text, which the WSO has said must be sing in "German Latin" and not the regular type Latin we used for the Verdi.  This means the word coeli is pronounced Tsuli and not chelly.  At least that is what our conductor is saying.  Who knows what YK is doing over with the other one, but I have sung German Latin with him before and I know some things are different from what I am being told to do this time around.   When the two choirs come together for the first time on the 17th of March I will be chuckling to myself as we hear the not so unified pronunciation of the text, which will then have to be drilled and  corrected right up until performance time.  Yup, been there; done that.   For this concert I have left the Phiharmonic and am rehearsing with the Mennonite Festival Chorus. Uncharacteristically, we have a shortage of singers it seems in the Soprano, tenor and bass sections.  I certainly hope we will not adopt the Philharmonic practice of dropping in professional singers at the last minute.  It is annoying if one of these "saviours" gets dropped in your section at the dress rehearsal and proceeds to sing through and oblivious of all previous choral markings made - sounding beautiful of course but, ah," the whole rest of the choir is breathing here so would you mind not solo-ing through?"  Thankfully the alto section is usually bursting with us kick ass old lady types so reinforcements are not usually needed.

The Beethoven's 9th is tiring and laborious to rehearse best described as loud fast and high.  It does not sound it's best with piano only  but is absolutely stunning to perform with a full Beethoven orchestra!  The best part is you get to sit beside the orchestra as they play the first 3 movements and get all in the mood for the choral finale of the 4th movement which is so glorious!  It is the anthem of the European Union, was sung to mark the falling of the Berlin Wall, with Leonard Bernstein conducting and has been part of my choral repertoire for many years! 

For each one of these years there has been a problem entry for the women  that clearly  proves why I am not a professional chorister.  The altos on a high E , the sops on a G and we come out of nowhere with no men around to anchor our sound.    I have never produced this sound to my

cursed note

satisfaction.  I have come in at the right time but flat OR late but right note since I took it from my neighbour.  All female choristers are nervous wrecks in the beats preceding this entry hoping we don't come in early, hoping we can reach our note - and all this nervous Nellie behavior assures a screechy late entry.  Ah, well maybe this will be the year!

Of interest is that my rehearsal conductor with the MFC is that rare thing - a female!  May I say wonderful to rehearse with.  She is very organized, has her rehearsals so well thought out.  She knows just what sections to rehearse first in order that these motifs can be built upon later on.  She also shows good humour, such as when the tenors were loudly belting out their line marked pp ,she averted her gaze, walked over to the women's section, all the while conducting the beat, and said, "women, the tenors are like the tuba players; don't look at them it only encourages them."  My alto seat mates are completely wonderful competent musicians and I can lean on both in any given bar.  Thank you!
She does not let us get away with sloppy singing and states quite forcefully that what you just did was unacceptable and would you please adjust it.  If she has any passion or emotion about the piece she has not let us see it, keeping the rehearsals very technical.  I suppose this is a good thing for learning a piece but is so unlike YK, the conductor I sing for most often, who was crying at the very opening bars of the Brahms Requiem to the point that I feared he would not make it through the 7 movements.
Although I need the Passion of the conductor during performance I am learning that passion-free practice can be good.
(I have not talked about the Rutter, but maybe I will get to it after the performance)