As we get closer to the performance of the St John Passion, members are commenting that they are beginning to understand the work and the way in which Bach makes the drama of the story unfold.  It takes me back to the first time I sang the work, not ever having heard it, thirty years ago.  The rehearsals were at the start a bit of a grind.  Half the choir had sung it before, and those that had not were struggling to keep up.  Gradually, the newcomers caught up with the old hands and the music started to make sense.

Then came the first rehearsal when we began to put all the components together.  The WOW factor was incredible.  How did a composer in Bach’s day create such a compelling sense of drama with the resources at his disposal?  As we became more familiar with the music, the sense of magic became even greater, and the performance in Salisbury Cathedral was electrifying.

I have heard the work many times since, and have sung it a further three times.  Each time I marvel at the way the story comes to life and engages both performers and audience alike.

Next week we get to rehearse with the Evangelist, and then with the orchestra and eventually the other soloists.  We are very fortunate to be singing this work in the company of some illustrious musicians: soloists, orchestra and of course our inspired conductor, Carlos.  Performing such wonderful music with them will prove, I have no doubt, to be a truly memorable experience.

There are now two rehearsals remaining for the St John Passion before we put all the elements together in the final run-throughs.  We have covered almost all the music: all seventeen choruses and ten of the twelve chorales.  It’s a lot of  music to learn and remember.

Once again, Carlos is demanding high standards of us.  He encourages us to think actively about the text, the drive of the narrative and our different roles at different times.  We then have to sing not only accurately but also with meaning and feeling, befitting the wonderful music and its story.

These last rehearsals will be fascinating, as we get to work with the orchestra and the soloists to bring the whole work together.  We are most fortunate to have a stellar line-up of soloists.  In particular, Richard Butler brings a wealth of experience to the role of the Evangelist.  It will be a real privilege to sing alongside him.

We are now over half way through the rehearsals for Bach’s St John Passion..

What a privilege it is to sing such glorious music under the direction of Carlos Alvarado.  He not only teaches us the notes, but also draws us into the music and the meaning behind it.

For example, he describes the spirals of the orchestral introduction to the first chorus as rivers leading inexorably to the sea, representing mankind in its quest for God, and realised in the first three chords for the Choir: “Lord, Lord, Lord!”.

Carlos fits each chorale carefully into its context, demanding sensitive singing to match the situation.  Last night, for example, he demonstrated to us how a couple of bars describing in words and in notes, the ascent to heaven, should be sung.

This promises to be a memorable performance, which will be the culmination of many weeks of hard work.  As our President, Roger Pratt, has commented, this is the most challenging work we have ever sung, but it will also be hugely satisfying.

We were very pleased to note that a Friend of the Choir, Harvey Broadbent, received an honour on Australia Day.  He was awarded an AM for services to tertiary education and the arts.

From what we know of Harvey’s many and varies activities, it was indeed well-deserved.

Hello everyone

Now that the dust has settled after our Christmas concert, it’s a good time to pause and reflect on the year just passed.

It was a busy year, and I feel that we should all be proud of what we achieved. As well as the usual three concerts, we did the Spanish programme at the Conservatorium in March, and the joint programme with the Odawara Doctors’ Choir in September. We celebrated our 40th Anniversary in style with a dinner in May and the wonderful concert in August.

All of these events went smoothly and were sell-out successes. More importantly, we all derived huge pleasure from taking part in them.

As with any well run organisation, the smooth operation on the surface hides the tremendous effort put in by the committee and the many helpers behind the scenes. And above all, the continuing inspiration of our beloved director Carlos, always supported with skill and humour by Angela. Our thanks go to all of them.

I am excited by the programme for this coming year. The St John Passion in May will be a challenge. It’s a huge work and new to the choir. In August, by popular request, we have the Opera Choruses, which many in the audience have also said they look forward to. And finally a new Karl Jenkins work, Stella Natalis, in December. A lot to learn, but as we grow in confidence and professionalism, we shall take them in our stride and produce wonderful music.

So it just remains for me to wish every one of you all the best for Christmas and the New Year. Enjoy the break, and come back refreshed and eager when we start up again on 21 January.

Happy Christmas

Roger