Perhaps as we were the first booking at the new Melbourne Recital Centre on 28 February 2009 to fill the 1000 seater Dame Elisabeth Murdoch auditorium, we were very happy to accept their invitation to take part in their fifth anniversary celebrations on 8 February 2014.
On a very hot day our first bracket at 11.00 am was under a marquee in the Centre’s back garden which had been set up with stalls and market umbrellas and a plethora of scatter cushions. Acoustically challenged as we were, the audience was treated to favourites Men of Harlech and Cwm Rhondda followed by the beautiful Anfonaf Angel and the musically difficult Pemulwuy. Some relief with the a cappella version of Si Hei Lwli ‘Mabi was followed by Geoff Serpell as animated soloist on Working Man and the mellifluous bass-baritone of Roger Bartlett on Bring Him Home as the bracket finished with the rousing choruses of Les Mis.
Thankfully, the 1.00 pm bracket was in the cool of the Centre’s foyer where a very large crowd gathered in expectation, many relaxing on the deep dragon-red carpet (photo by Bernard Peasley). The audience burst into spontaneous applause when the Welsh flag was enthusiastically waved during Harlech and they happily joined in with the chorus of Cwm Rhondda. They swooned over Anfonaf Angel and were captivated by Pemulwuy. The foyer hushed itself for a lovely example of soft singing with Si Hei Lwli and wondered if it could get any better. And it did. Released from the outdoor difficulties but not blessed with a microphone, Geoff Serpell rose to the occasion with a thundering Working Man, even astonishing the Musical Director who, to the background of thumbsup-derous applause, felt moved to jump down from the rostrum to give the soloist a well-deserved kiss of congratulation. Wow!
The finale of Les Mis was this time led by the honeyed tenor of Rushan Hewawasam who brilliantly caught the mood of the audience in absolute sympathy with the young revolutionaries, and left many patrons crying with the power of the music as the choir soared to the final choruses. This was a wonderful mini-concert thanks to the choice of songs by Faleiry and the musical artistry and flexibility of Lorna.
And then, as we had earlier, we sang Happy Birthday to MRC - in Welsh of course - "Penblwydd Hapus i Melbourne Recital Centre!"
Broadening the theme to include Scottish and Irish tunes proved to be a winning formula on St David’s Day Eve as a capacity audience took their seats at the Melbourne Recital Centre. We were also honoured by the presence of Heidi Victoria - the Victorian Minister of the Arts as well as Minister for Women’s Affairs - and of Kathryn Fagg the Chair of the MRC board.
To celebrate the name of our latest CD the concert launched off with the rousing Let All Men Sing.
Our distinguished guest conductor from Wales, Ilid Anne Jones (pictured left) then took over for a Welsh bracket of Rachie, Tydi A Roddaist and Rhys plus Benedictus showing the choir’s proficiency in a third language for the night.
Violinist Suzanne Simpson (right), fresh from Circus Oz, along with mandolin player Trent Arkley-Smith, displayed their superb mastery of their instruments with a toe-tapping rendition of two intricate Irish reels, Drowsy Maggie and Red-haired Boy, followed by a traditional tune Sheebeg and Sheemore.
Our guest choir, the Ceredigion WI Choir under the direction of Llinos Griffiths and accompanied by Alwena Lloyd Williams, came out next and delighted us with the musicality we expect from Wales with Cân Y Mileniiwm, Ffosfelen, Suo Gân and Cariad.
Musical Director Faleiry Koczkar then set up her Welsh harp to accompany Côr Bach in the traditional Northern Irish tune Carrickfergus with a beautiful solo by baritone Roger Bartlett. As the melancholia faded, the audience was brought quickly back to reality as Chris Bouwmeester skirled into the auditorium with his Scottish bagpipes. Having announced his presence, he ascended the stage and skilfully played the introduction to Highland Cathedral, a stirringly nationalistic tune performed by the choir and a stentorian solo by bass Tom Morgan, as pictured above by David Barrett.
Ilid retook the podium to conduct her own arrangement of a choir favourite Anfonaf Angel, which we had first heard sung by Bryn Terfel in London in July 2012.
The first half closed with Faleiry energetically directing us through the modern and musically demanding Pemulwuy along with a definitive encore.
After interval Ilid was back conducting us with the stirring Welsh tune Yr Utgorn - The Trumpet. Llinos took over the podium to conduct the two choirs in a bilingual version of the beautiful Finlandia.
A humorous interval followed with North Walian Stephen Pepper educating the audience in some snippets of Ceredigion/Cardiganshire history and the fact that the Women’s Institute movement started 99 years ago in LlanfairPG. To the astonished delight of the ladies and the audience, the longest Welsh name was revealed in all its linguistc glory in a banner held up for all to see and accompanied by the choir singing it for the benefit of non-Welsh speakers. Suitably impressed, the ladies came to the front and gave everyone another very polished performance of Let All the World, Rho Gymorth dy Law, Mil Harddach and the delightful Trwy’r Nos Trwy’r Dydd. They then resumed their positions at either end of VicWelsh, and we all launched into a spirited version of When the Saints Go Marching In, accompanied by Suzanne and Trent. Being a tune everyone knows, the audience were then invited to contribute to the chorus which they did enthusiastically and several times.
After all that excitement, our extremely capable and personable compère Drew Hopkins skilfully took the temperature down by joining Rushan Hewawasam in the achingly nostalgic duet about the role of Ellis Island in processing 17 million immigrants to the US - Isle of Hope, Isle of Tears. Beautifully modulated and articulated by both tenors, their emotive performance drew much deserved and sustained applause.
But more talent from within the ranks was to come. In our homage to the Celtic feel for the concert the next bracket was entitled Celtic Caprice. The Welsh were honoured with Gwŷr Harlech, the Scottish with The Bonnie Banks o’ Loch Lomon’ sung with passionate style by bass Barry McMahon; Ed Hughes tugged at the heart-strings with a lovely Danny Boy accompanied by violin and mandolin; and silky smooth Roger Bartlett conjured up the Hebridean mists in An Eriskay Love Lilt. After this quick musical trip around the British Isles, everybody was feeling so good that we finished off the bracket in the most appropriate style with Auld Lang Syne. It was wonderfully fitting to see both choirs and all the audience linking hands in the time-honoured way.
But then, to cement our friendship with the Ceredigion choristers and their travelling companions, as well as with all the expatriate Welsh in the audience, we had to finish off with our modern arrangement of Waltzing Matilda. The verses were finely sung by Drew and bass Geoff Serpell, skilfully combining their voices in exquisite harmony. From the stage it was a moving and stirring sight to see the audience rise to their feet as the lovely soprano and alto voices came over the top of the men with the unforgettable words of Hen Wlad Fy Nhadau.
Emotionally exhausted and clutching tissues, the audience wanted something more but were not sure what. So, to the musical accompaniment of piano, violin and mandolin, both choirs came down from their stage of musical triumph and surrounded the stalls. With the expectant patrons hushed, the wonderful words of Dylan Thomas gently blessed the milk-wooden walls and cast a final spell over everybody as we farewelled them with Eli Jenkins’ Prayer.
Audience comments included:
VicWelsh was in attendance along with men from the other two Welsh male choirs and Welsh ladies from Geelong and, this year, our guests the Ceredigion WI Choir. There were also representatives from a Filipino choir in the audience. Ilid Anne Jones was the guest conductor.
Congregational singing of eleven hymns, including favourites like Aberystwyth and Calon Lân, was led by the five choirs and joined enthusiastically by a congregation which filled the lower level of the church, overflowing into the upper level with the choirs (picture by Tony Davies).
The combined male choirs sang King of Glory followed by Geelong Ladies with Robat Arwyn's Benedictus. Later in the Gymanfa, all choirs combined on Morte Criste and Vivaldi's Gloria. Accompanying the songs were Rhys Boak on organ and a brass and tympani section.
Besides Ilid, the Welsh Church had also brought out from Wales Eleri Owen Edwards, the Blue Riband winner at the 2013 National Eisteddfod. She showcased her beautiful contralto voice with The Lord’s Prayer, Bless This House and My Little Welsh Home whilst being accompanied on piano by Ilid. Eleri’s baritone husband Aled joined her in Diolch I'r Iôr.
Kinglake
16th March 2014, St Peter's Church
On 16th March Victoria Welsh Choir was privileged to participate in the service led by Archbishop Dr Philip Freier which marked the opening of the new church of St Peter's, Kinglake, five years after its predecessor was destroyed in the devastating fires of Black Saturday.
Maldon - Côr Bach
22nd March 2014, Holy Trinity Church - Diary of a Welsh
Swagman: "I don't know about heaven, but I've just been there for two
hours." "Nostalgia, challenge, humour and beauty" "A wonderful musical
and spoken rendition of The Welsh Swagman."
On 22nd March our small choir (Côr Bach) ventured into the Goldfields area to present a specially requested "Swagman" first half for an afternoon concert at Maldon.
It was Maldon where the Welsh swagman, Joseph Jenkins, ended up working for the last nine years of his 25 years in Victoria in the late nineteenth century and where he was in charge of the town’s extensive road drainage system. Drew Hopkins narrated the extracts from the diary and Tony Davies was The Swagman.
By the keen interest shown and the nodding of heads it was clear that quite a few members of the audience were familiar with the diary and Jenkins’ role in keeping their town’s streets in good working order.
Fifteen appropriate songs, or part-songs, were interpolated with the text to add to the musical journey with Barry McMahon as soloist on Wandering the King’s Highway and Bob Ash on Working Man. Bendigo accompanist Elizabeth Paton took advantage of the church’s organ to augment Lorna Ogilvie’s keyboard.
Other soloists in the second half were Roger Barlett on Ferry ‘Cross the Mersey and the exquisite Maria, Bill Denholm on anvil in Anvil Chorus and Roger again in the finale’s Les Mis medley.
As is customary in the country, the choir and audience then moved to the hall for a well-earned afternoon tea and where, unsurprisingly, the local Swagman was still a topic of conversation, 120 years after he had left the town to return to Wales. We think he would have been pleased.
Audience comments included:
Doncaster
5th April 2014, Holy Trinity Church: "good variety of song
choices and inclusion of audience" "Harmonies lovely." "A spine tingling
experience!"
We were very pleased to be invited back to Doncaster on Saturday 5 April. Launching the concert with the dynamic Let All Men Sing - the title of our latest CD - set the tone for the afternoon. A bracket of traditional Welsh tunes was followed by Roger Bartlett’s beautifully modulated Maria from West Side Story.
Cwm Rhondda gave the willing audience a chance to open up their voices for the first time.
Rushan Hewawasam and multi-tasking compère Drew Hopkins then sang Rushan’s arrangement of the haunting Isle of Hope, Isle of Dreams.
Many members of the congregation recognised the next soloist, the Rev. Tom Morgan as he had been the vicar at Holy Trinity some years ago. As befitted his Welsh and Scottish heritage, he delivered a magisterial rendition of Highland Cathedral.
The audience tickled their tonsils at the end of a modern version of The Saints and Bill Denholm tickled the ironies on Anvil Chorus. Drew and Roger led the choir into a spirited search with Cherchez La Femme and John Hales and Geoff Serpell were suitably animated and armed in the comic Gendarmes’ Duet.
In our Celtic medley, Barry McMahon confidently gave us the choice of roads in The Bonnie Banks o’ Loch Lomon’, Ed Hughes moistened many a dry eye with Danny Boy and Roger brought his mellifluous tones to bear on An Eriskay Love Lilt. And then choristers and audience alike brought in a premature New Year with Auld Lang Syne.
Finally, Geoff and Roger combined on the special arrangement of Waltzing Matilda which segued brilliantly into the Welsh National Anthem at the end.
Judging by the comments below, the audience thoroughly enjoyed the concert as much as the choir did.
Rosebud - Côr Bach
17th May 2014, All Saints Church: "Excellent - engaged
audience!" "Superb! Beyond belief! So beautifully harmonised!" "A
flawless performance" "
The small choir (Côr Bach) journeyed down the bayside to present a Saturday afternoon concert at All Saints Anglican Church, Rosebud and was welcomed by Father Stephen Pollard. Compère for the day was Tony Davies.
After a spirited opening Let All Men Sing, we stirred the expectant audience with a bracket of traditional Welsh hymns and they happily joined with us in the last chorus.
Our oldest chorister Bill Denholm celebrated his 89th birthday by ‘playing’ the anvil in the Anvil Chorus from Il Trovatore. Robat Arwyn’s Anfonaf Angel was an emotional favourite only surpassed by Bob Ash’s authoritative Working Man, with the recent Turkish coal-mine disaster on our minds. Other soloists were Ambrose Morgan with a humorous tale of woe and Roger Bartlett with a beautifully interpreted Billy Joel song And So It Goes.
The first half closed with the technically difficult Australian song Pemulwuy and a modern arrangement of When the Saints with audience participation.
After interval the Celtic medley included strong solo performances by Roger and Barry McMahon and Bob came back to present the patriotic and thought-provoking Shelter.
John Hales and Geoff Serpell thrilled patrons with a wonderfully theatrical Gendarmes’ Duet, complete with authentic-looking truncheons.
Continuing the French theme, Drew Hopkins’ superb tenor voice led the choir, with help from Roger, John and Ed Hughes, as we all tried to find the lady in a rip-roaring rendition of Cherchez la Femme.
The finale was the powerful and emotional Les Mis medley with Roger in fine voice on Bring Him Home. After our encore, the church erupted with heartfelt applause and the handshakes confirmed that audience and choir alike had shared a very special musical experience together.
Audience comments included:
Birregurra - Côr Bach
25th May 2014, Christ Church Birregurra: "the blending of
your voices is heart warming" "Made me cry then massive enjoy" "A choir
of distinction with great voices, clear diction, a sense of humour and
obvious enjoyment in singing" "great selection of songs: good balance of
audience participation, fun and flag waving(!) laughter and tears of
joy"
On the afternoon of Sunday 25th May our Côr Bach (small choir) paid a return visit to Christ Church, Birregurra, after three years almost to the day.
Comments from the audience included:
A rousing opening bracket of Welsh hymns with audience participation very quickly warmed up the congregation and their voices. These were also very effectively employed in the final chorus of When the Saints.
Ambrose Morgan delighted patrons with his humorous tale; John Evans, author of the informative hymn notes, was a melodramatic anvilist; Bob Ash was enthusiastically applauded for his powerful Working Man and Roger Bartlett worked his magic on And So It Goes.
In the second half, the choir rose to greater heights in the Celtic Caprice with strong solos by Roger and by Barry McMahon. Bob Ash gave us another thought-provoking and emotional song with Shelter which resonated with many patrons as the sale of their church had been reprieved only six months ago.
Drew Hopkins was dynamic, along with Roger, as they led the choir in a tour de force Cherchez la Femme. Finally, Roger featured again with his mellifluous bass-baritone voice in the stunning medley from Les Misérables.
As
the choir surrounded the audience, the afternoon’s mutually
satisfying musical magic was complete and everyone went home or to
the splendid afternoon tea, with their spirits totally uplifted.
Audience comments included:
The noontime show at Parks Hall revealed a large and musically aware audience who very much appreciated the choir’s broad range, from traditional Welsh hymns, modern arrangements and Celtic favourites.
Informative and witty compering duties were shared by John Evans, Stephen Pepper, Tony Davies and Drew Hopkins. Ambrose Morgan got patrons laughing with his clever version of Hymns and Arias and Musical Director Faleiry Koczkar skilfully involved the audience early on with some spirited chorus singing.
There were marvellous solos from Ed Hughes, Drew Hopkins, Rushan Hewawasam (with his own arrangement of Carrickfergus), Barry McMahon and Graeme Sanderson and a very well-modulated duet from Drew and Jonathan Melland on Waltzing Matilda.
The afternoon show at St John’s Church was equally well-received with patrons asking for more at the end of the allotted hour. The musical program was nearly the same as the earlier show with the addition of The Anvil Chorus, complete with anvilist Colin Evans, and a humorous but instructive Welsh lesson by native speaker Stephen.
Speaking after our first performance our host complimented us on our quality and musicality as well as the breadth of our repertoire, and it was evident by the applause that Festival fans very much agreed. It was an absolute pleasure to be part of the Festival where we are sure we made a lot of new friends by showing the Welsh flag, both literally and musically.
After a rousing opening bracket Ambrose Morgan entertained the audience with a sporting tale of woe. This was followed by a trio of famous Welsh hymns before Roger Bartlett entranced patrons with You’re Still You, made famous by Josh Broban.
Rushan Hewawasam and compère Drew Hopkins plucked at the heartstrings with the haunting Isle of Hope, Isle of Tears.
After Anfonaf Angel and the challenging Pemulwuy, we closed the first half with When The Saints, with repeated choruses by tuned-in patrons.
The second half opened with the choir’s successful première of What Would I Do Without My Music?
Stephen Pepper gave everybody an amusing Welsh lesson and then made way for a very lively performance of the Gendarmes’ Duet by John Hales and Geoff Serpell.
More soloist talent was on display in the Celtic Medley with Alex van Mens making his début in Highland Cathedral, Ed Hughes with Danny Boy, Barry McMahon with The Bonnie Banks o’ Loch Lomond and Roger with the misty An Eriskay Love Lilt.
The finale was the fitting Auld Lang Syne with choir and audience linked up alike enthusiastically celebrating a wonderful afternoon’s concert.
Comments from audience members included:
After a three year gap David Hobson was again our guest artist, this time In A Celtic Mood at the Melbourne Recital Centre.
After a rousing opening bracket from the choir, David's beautiful
tenor voice entranced the large and appreciative audience with musical
gems from Benjamin Britten's Celtic Medley, made up of The Salley Gardens, The Ash Grove, The Foggy Foggy Dew, O Waly Waly, and Oliver Cromwell.
VicWelsh extended the concert's theme with the Welsh tune Dashenka,
complete with sound effects for the gipsies' horses. Faleiry then came
down from the conductor's rostrum to accompany David on her harp with Suo Gân and Dafydd Y Garreg Wen.
The choir closed out the first half with the Australian song Pemulwuy, followed by When the Saints which gave patrons an opportunity to exercise their voices before the interval!
To open the second half David surprised all his fans by flamboyantly
leaping straight on to the piano to mock-seriously tell the sad tale of Little Miss Muffet - with acknowledgments to Dudley Moore. He then thrilled the audience with his sheer versatility with The Maid of Culmore (his own arrangement); Non ti Scordar di Me, music by Ernesto de Curtis; Mattinata by Ruggiero Leoncavallo; and finally Granada by Agustin Lara.
The choir gave David a well-deserved rest by singing Yr Utgorn (the Trumpet) and the old favourites Aberystwyth and Gwahoddiad.
And then the star of the show was back, with the choir accompanying him on another Celtic medley with Shenandoah, Danny Boy, An Eriskay Love Lilt, a thumping Wild Mountain Thyme, All Through the Night and a rollicking Spanish Lady, the audience clapping enthusiastically in time with the chorus. Another Welsh favourite Cwm Rhondda saw David once again joining with the choir for a brilliant finale.
Off David went, but his devoted audience had not heard enough.
Thankfully he reappeared and, with the choir, reprised the song which he
sings at Carols by Candlelight every year, the wonderful Holy City.
As the last note died away David acknowledged his fellow musicians
Faleiry and Lorna, and the capacity audience gave them all a standing
ovation.
As witnessed by many comments, it was indeed a superb concert:
Brighton Icebergers - Côr Bach
25th July 2014, Royal Brighton Yacht Club: "Magnificent! Bread of Heaven! You made the night!"
On 25th July our Côr Bach took part in a function held by the year-round open water swimming group the Brighton Icebergers at the Royal Brighton Yacht Club. This function was to support one of their members, John van Wisse, who was about to compete in the Arch to Arc triathlon, starting the next day, in which competitors run from London's Marble Arch to the Channel, swim across to France and cycle to the Arc de Triomphe in Paris - a total of 461km.
Following a humorous opening to the evening's proceedings by the Icebergers' best-known member, Ted Baillieu, we introduced ourselves with two staples of the Welsh choral repertoire, Men of Harlech and Rachie. Then came our reason for being there, as we sang four well-known tunes, but with different words penned by Ted to celebrate the exploits of the Icebergers in general and John van Wisse in particular. The tunes were Hallelujah by Leonard Cohen, Jerusalem, Edelweiss and You'll Never Walk Alone. As for the words ... well, you just had to be there.
The large and vociferous audience obviously enjoyed it all, and the next day we received the following words from Ted:
Report by Jonathan Melland.
Memorial Lunch
The choir opened with a bracket of four songs: Rachie, Amazing Grace, Si Hei Lwli Mabi and Working Man. A mellifluous performance from Geoff Serpell as soloist on Working Man earned a standing ovation from the audience. Ending its program with Cwm Rhondda, Myfanwy and Men of Harlech, the choir left the stage to rapturous applause from the audience.
Report by Tony Edmonds
Wagga Rugby Club Choir
16th August 2014, Civic Theatre Wagga
On Saturday 16th August the Vic Welsh choir travelled 450km north to Wagga Wagga, NSW for the first leg of a weekend country tour. There, to a sell-out crowd of around 400 people on Saturday evening, we presented a joint concert with the Wagga Rugby Club Choir at the marvellous Civic Theatre. The Vic Welsh sang with the Wagga Rugby Choir in London in 2012 at the Royal Festival Hall, part of a 530-strong choir drawn from around the world in one of the cultural events leading up to the Olympic Games.
The Wagga choir opened the first half of the programme with: Let All Men Sing, The Rose, Hallelujah (Leonard Cohen) and a Sinatra medley. The Vic Welsh then followed with: Men of Harlech, Rachie, Dashenka, What Would I do Without My Music and Amazing Grace.
After interval, Vic Welsh opened the second half of the programme with: Anvil Chorus (Il Trovatore), Si Hei Lwli ‘Mabi, Anfonaf Angel and Waltzing Matilda. The Wagga Rugby Choir then sang an: American Trilogy, Where Will I be, My Wish For You and World In Union.
The concert ended with both choirs on stage, some 80 male voices, giving stirring renditions of When the Saints Go Marching In and Stout Hearted Men – both of which the two choirs sang together in London – a fitting end to a wonderful evening, one which was much appreciated by the large and very enthusiastic audience.
On Sunday 17th August, following our concert on the 16th at Wagga Wagga, Vic Welsh completed the second half of its country tour with a concert at the Plaza Theatre in Kyabram, northern Victoria. The concert was compered by Rob Hopman, a member of the choir’s Bendigo chapter.
To open the concert, the choir sang a rousing bracket of three favourite Welsh hymns: Rachie, Aberystwyth and Cwm Rhondda. Ambrose Morgan then entertained the audience with a sporting tale of woe, following which the choir sang: Let All Men Sing, What Would I do without My Music and Working Man, the latter featuring Geoff Serpell as soloist.
Roger Bartlett then enthralled the audience with You’re Still You, before the full choir ended the first half of the performance with: Amazing Grace, Anvil Chorus (from Il Trovatore) and When the Saints Go Marching In.
The choir opened the second half with Yr Utgorn (The Trumpet), Anfonaf Angel and Dashenka, after which Rushan Hewawasam and Drew Hopkins sang the beautiful but haunting duet Isle of Hope, Isle of Tears. This was followed by a Celtic Medley consisting of Gwyr Harlech (Men of Harlech) and three other songs: Highland Cathedral (featuring Alex van Mens as soloist), Loch Lomond (soloist, Barry McMahon) and An Eriskay Love Lilt (Roger Bartlett).
The formal part of the programme ended with the choir’s own rousing arrangement of Waltzing Matilda. Upon being asked by the audience for an encore, the choir sang, unaccompanied, the lovely Welsh lullaby Si Hei Lwli ‘Mabi – a beautiful way to end a wonderful afternoon’s concert.
Comments from audience members included:
And from the organisers:
The concert was opened by the Legends, followed by the choir with its first bracket of songs. The bracket started with two very popular Welsh hymns Men of Harlech (Gŵyr Harlech) and Rachie, and finished with When the Saints Go Marching In. The Legends and PLC then each played several pieces before VicWelsh returned to the stage to sing: Anvil Chorus (from Il Trovatore), Yr Utgorn (The Trumpet) and What Would I do Without My Music. The first half of the concert closed with the Legends playing the overture to Orpheus in the Underworld.
After interval, the Legends opened the second half of the program with some more stirring music. VicWelsh then sang a third bracket of songs: Anfonaf Angel, Mae Hen Wlad Fy Nhadau (the Welsh National anthem) and, accompanied by the Legends, I Vow to Thee My Country. PLC then played a final rousing bracket of tunes on the bagpipes and drums, including the lovely Highland Cathedral.
The program finished off in true London Proms style. Accompanied by the Legends, and with marvellous audience participation - including much waving of flags - the choir sang: Jerusalem, Rule Britannia (featuring our very own John Hales as soloist) and Land of Hope and Glory. The Proms then ended in traditional fashion with the Legends playing and everyone in the audience and the choir linking arms and singing Auld Lang Syne, loudly and with great enthusiasm!
Report by Tony Edmonds
The choir was very happy to be back in Ballarat, albeit at a different but equally splendid venue. Bendigonian Rob Hopman acted as compere for the day and ably steered proceedings through a packed and wide-ranging musical afternoon.
Regular attendees at VicWelsh concerts are always impressed by the fact that the choir performs their extensive repertoire from memory, so our opening number What Would I Do Without My Music seemed self-evident but it proved to be a rousing show-opener.
This was followed by a couple of well-known Welsh songs, then North Walian Stephen Pepper brought a humorous educational slant to the proceedings with some Welsh pronunciation.
Switching into Latin for Benedictus, then back to Welsh for a lullaby and Anfonaf Angel and concluding the bracket with the Australian song Pemulwuy showcased the choir’s versatility in languages and styles.
Tenor John Hales and the choir brought an element of Last Night at the Proms to the afternoon with a stirring rendition of Rule Britannia which harked back to the glories of the eighteenth century.
Moving forward to the First World War, the audience and choir kept each other in musical company with a medley of well-known numbers, finishing the first half with extended exhortations to Smile, Smile, Smile!
Let All Men Sing launched the second half and the following Celtic medley gave opportunities for the audience to enjoy a range of individual choristers’ talents.
In deference to the Scottish background of the venue, St Andrews Kirk, Alex van Mens confidently led the choir in the soaring Highland Cathedral; Ed Hughes tugged at the heartstrings with Danny Boy and Drew Hopkins lilted us through the Hebrides. Native Welshmen Stephen Pepper and Stephen Lynn combined in All Through the Night and Irish descendant Barry McMahon charmed patrons into singing along with the choruses of Loch Lomond.
After this rollicking medley, Faleiry turned down the musical wick to offer the audience an a cappella rendition of that old favourite Myfanwy in response to a special request.
Holding the mood, baritone Bob Ash sang a beautifully modulated Shelter.
In the finale of the medley from Les Misérables, the solo part was taken by Melinda Ash whose exquisite soprano voice left the audience wanting more.
Comments from audience members included:
Gisborne - Côr Bach
19th October 2014 at the Uniting Church: "A joy to hear" "Nicely relaxed concert." "choir harmonise beautifully" "wonderful feeling of camaraderie - spilled out into the audience" "Excellent singing, entertaining humour"
The small choir Côr Bach journeyed to Gisborne on a sunny afternoon. Baritone Bob Ash came over from Tylden to be compère for the performance.
Patrons got an early opportunity to test their voices by singing along with the chorus of Cwm Rhondda. This was followed by two other Welsh tunes and What Would I Do Without My Music.
John Hales and Geoff Serpell melodramatically presented the humorous Gendarmes’ Duet before the choir launched into a medley of toe-tapping American Gospel songs, Rushan Hewawasam and Drew Hopkins then sang a lovely tenor duet with Isle of Hope, Isle of Tears.
Some opera followed with the Anvil Chorus from Il Trovatore complete with Col Evans on anvil. The beautiful Anfonaf Angel was next and then the musically challenging modern work Pemulwuy. The first half concluded with a new arrangement of When the Saints with the audience having a good sing before interval.
The second half opened with the rousing Let All Men Sing before showcasing the talent from within the choir ranks with Bendigonian Ken Simpson featuring on Highland Cathedral, Ed Hughes on Danny Boy, Drew Hopkins with An Eriskay Love Lilt, Stephen Pepper on All Through the Night and Barry McMahon with Loch Lomond, complete with audience participation with the chorus.
Local man Stephen Pepper came back to teach patrons some Welsh, in his inimitable Welsh way and then John Hales returned to offer the stirring Rule Britannia.
The finale was a selection of songs from the First World War, ending up with ‘Smile, smile, smile’ which nicely echoed the audience’s obvious pleasure at the end.
Comments from audience members included:
For our last main choir concert of the year we were invited back to the burgeoning area of Hoppers Crossing, and the very keen audience was delighted to quickly open up their voices by joining in with the chorus to Cwm Rhondda, Rachie, Amazing Grace and the rhetorical What Would I Do Without My Music set off the afternoon at a cracking pace. John Hales and Geoff Serpell then delighted all in the hall with an extremely polished humorous performance of the Gendarmes’ Duet.
Changing the tone, the choir showed its tender side with an a cappella Myfanwy followed by the romantic Anfonaf Angel and the musically challenging Pemulwuy. Whilst in contemplative mood, Bob Ash then sang a beautifully modulated Shelter by Eric Bogle. Then it was time again for patrons to sing along with a medley of well-known songs from WW1 as everybody Smile, Smile, Smiled their way into the interval.
The second half ripped into action with the stirring Let All Men Sing before showcasing individual choristers’ talents in the Celtic Medley. Ken Simpson confidently led the choir in Highland Cathedral, Ed Hughes caused eyes to mist over with Danny Boy; Scotch mist was invoked by multi-tasking soloist and compère Drew Hopkins. Second tenors and fellow Welshmen Stephen Pepper and Stephen Lynn featured on All Through the Night and Irishman Barry McMahon (the smiling bass) helped choir and audience to tunefully find the right road in Loch Lomond.
Hard-working Drew and Rushan Hewawasam then melodiously combined to tell us about Ellis Island in Isle of Hope, Isle of Dreams which noticeably affected many in the hall.
The talented second tenor Rushan then featured as soloist in the Les Mis medley, the finale of which elicited sustained applause from an audience who had truly been an integral part of a shared musical experience which, during the afternoon, had taken them on an emotional roller-coaster.
Everyone then stood for the Welsh National Anthem before the choir exited the stage to the strains of Men of Harlech. Once the applause died down it only remained for choristers, surrounding the audience, to bid them a fond farewell courtesy of Eli Jenkins’ Prayer.
Audience feedback included:
Remembrance Day
9th November 2014 at the Springvale War Cemetery
On 9th November 2014 Victoria Welsh Choir led the singing at the
Remembrance Day Service at the Springvale War Cemetery for the eighth time
since 2004.
Drew Hopkins (Narrator) and Tony Davies (Swagman) first performed their presentation of A Diary of a Welsh Swagman at the Castlemaine Festival in April 2011 to tie in with that year’s theme of Storytelling. We were therefore delighted to be asked once again to repeat the event, along with 15 relevant songs or part-songs interpolated with the text. Soloists were Barry McMahon on Wandering the King’s Highway and Bob Ash on the ever-popular Working Man.
Photo Max Lesser, Castlemaine Mail
In addition to the always brilliant accompanist Lorna Ogilvie, we were fortunate to also have the talent of our Bendigo chapter’s accompanist, Liz Paton, as organist for the day.
The second half ignited with What Would I Do Without My Music and the musically testing Pemulwuy complete with co-ordinated clapsticks. Bob Ash then came back with his lovely rendition of Eric Bogle’s Shelter.
In our Celtic medley, the choir’s depth of talent was on display with soloists Ken Simpson on Highland Cathedral, Ed Hughes on Danny Boy, Drew Hopkins on An Eriskay Love Lilt and Barry McMahon on Loch Lomond, which also gave the audience an opportunity to sing along with the chorus. And native Welshmen Stephen Lynn and Stephen Pepper combined on a well-modulated All Through the Night.
This was followed by another great duet with Drew and Rushan Hewawasam harmonising on Isle of Hope, Isle of Tears.
Finally, given the year, the choir sang a medley of songs from World War One and the audience was once again pleased to join in with some of the choruses and we all finished with Smiles all round.
Compère Tony Davies briefly commented that 1914 was famous also for it being Dylan Thomas’ birth year.
By request, the Welsh National Anthem was sung and then the choir marched off to a reprise of Men of Harlech. By the time patrons had sat down again and choristers found their opening notes, the words of Dylan Thomas once again floated through the excellent acoustics of this old church.
Observations from members of the audience included:
Perhaps as we were the first booking at the new Melbourne Recital Centre on 28 February 2009 to fill the 1000 seater Dame Elisabeth Murdoch auditorium, we were very happy to accept their invitation to take part in their fifth anniversary celebrations on 8 February 2014.
On a very hot day our first bracket at 11.00 am was under a marquee in the Centre’s back garden which had been set up with stalls and market umbrellas and a plethora of scatter cushions. Acoustically challenged as we were, the audience was treated to favourites Men of Harlech and Cwm Rhondda followed by the beautiful Anfonaf Angel and the musically difficult Pemulwuy. Some relief with the a cappella version of Si Hei Lwli ‘Mabi was followed by Geoff Serpell as animated soloist on Working Man and the mellifluous bass-baritone of Roger Bartlett on Bring Him Home as the bracket finished with the rousing choruses of Les Mis.
Thankfully, the 1.00 pm bracket was in the cool of the Centre’s foyer where a very large crowd gathered in expectation, many relaxing on the deep dragon-red carpet (photo by Bernard Peasley). The audience burst into spontaneous applause when the Welsh flag was enthusiastically waved during Harlech and they happily joined in with the chorus of Cwm Rhondda. They swooned over Anfonaf Angel and were captivated by Pemulwuy. The foyer hushed itself for a lovely example of soft singing with Si Hei Lwli and wondered if it could get any better. And it did. Released from the outdoor difficulties but not blessed with a microphone, Geoff Serpell rose to the occasion with a thundering Working Man, even astonishing the Musical Director who, to the background of thumbsup-derous applause, felt moved to jump down from the rostrum to give the soloist a well-deserved kiss of congratulation. Wow!
The finale of Les Mis was this time led by the honeyed tenor of Rushan Hewawasam who brilliantly caught the mood of the audience in absolute sympathy with the young revolutionaries, and left many patrons crying with the power of the music as the choir soared to the final choruses. This was a wonderful mini-concert thanks to the choice of songs by Faleiry and the musical artistry and flexibility of Lorna.
And then, as we had earlier, we sang Happy Birthday to MRC - in Welsh of course - "Penblwydd Hapus i Melbourne Recital Centre!"
Broadening the theme to include Scottish and Irish tunes proved to be a winning formula on St David’s Day Eve as a capacity audience took their seats at the Melbourne Recital Centre. We were also honoured by the presence of Heidi Victoria - the Victorian Minister of the Arts as well as Minister for Women’s Affairs - and of Kathryn Fagg the Chair of the MRC board.
To celebrate the name of our latest CD the concert launched off with the rousing Let All Men Sing.
Our distinguished guest conductor from Wales, Ilid Anne Jones (pictured left) then took over for a Welsh bracket of Rachie, Tydi A Roddaist and Rhys plus Benedictus showing the choir’s proficiency in a third language for the night.
Violinist Suzanne Simpson (right), fresh from Circus Oz, along with mandolin player Trent Arkley-Smith, displayed their superb mastery of their instruments with a toe-tapping rendition of two intricate Irish reels, Drowsy Maggie and Red-haired Boy, followed by a traditional tune Sheebeg and Sheemore.
Our guest choir, the Ceredigion WI Choir under the direction of Llinos Griffiths and accompanied by Alwena Lloyd Williams, came out next and delighted us with the musicality we expect from Wales with Cân Y Mileniiwm, Ffosfelen, Suo Gân and Cariad.
Musical Director Faleiry Koczkar then set up her Welsh harp to accompany Côr Bach in the traditional Northern Irish tune Carrickfergus with a beautiful solo by baritone Roger Bartlett. As the melancholia faded, the audience was brought quickly back to reality as Chris Bouwmeester skirled into the auditorium with his Scottish bagpipes. Having announced his presence, he ascended the stage and skilfully played the introduction to Highland Cathedral, a stirringly nationalistic tune performed by the choir and a stentorian solo by bass Tom Morgan, as pictured above by David Barrett.
Ilid retook the podium to conduct her own arrangement of a choir favourite Anfonaf Angel, which we had first heard sung by Bryn Terfel in London in July 2012.
The first half closed with Faleiry energetically directing us through the modern and musically demanding Pemulwuy along with a definitive encore.
After interval Ilid was back conducting us with the stirring Welsh tune Yr Utgorn - The Trumpet. Llinos took over the podium to conduct the two choirs in a bilingual version of the beautiful Finlandia.
A humorous interval followed with North Walian Stephen Pepper educating the audience in some snippets of Ceredigion/Cardiganshire history and the fact that the Women’s Institute movement started 99 years ago in LlanfairPG. To the astonished delight of the ladies and the audience, the longest Welsh name was revealed in all its linguistc glory in a banner held up for all to see and accompanied by the choir singing it for the benefit of non-Welsh speakers. Suitably impressed, the ladies came to the front and gave everyone another very polished performance of Let All the World, Rho Gymorth dy Law, Mil Harddach and the delightful Trwy’r Nos Trwy’r Dydd. They then resumed their positions at either end of VicWelsh, and we all launched into a spirited version of When the Saints Go Marching In, accompanied by Suzanne and Trent. Being a tune everyone knows, the audience were then invited to contribute to the chorus which they did enthusiastically and several times.
After all that excitement, our extremely capable and personable compère Drew Hopkins skilfully took the temperature down by joining Rushan Hewawasam in the achingly nostalgic duet about the role of Ellis Island in processing 17 million immigrants to the US - Isle of Hope, Isle of Tears. Beautifully modulated and articulated by both tenors, their emotive performance drew much deserved and sustained applause.
But more talent from within the ranks was to come. In our homage to the Celtic feel for the concert the next bracket was entitled Celtic Caprice. The Welsh were honoured with Gwŷr Harlech, the Scottish with The Bonnie Banks o’ Loch Lomon’ sung with passionate style by bass Barry McMahon; Ed Hughes tugged at the heart-strings with a lovely Danny Boy accompanied by violin and mandolin; and silky smooth Roger Bartlett conjured up the Hebridean mists in An Eriskay Love Lilt. After this quick musical trip around the British Isles, everybody was feeling so good that we finished off the bracket in the most appropriate style with Auld Lang Syne. It was wonderfully fitting to see both choirs and all the audience linking hands in the time-honoured way.
But then, to cement our friendship with the Ceredigion choristers and their travelling companions, as well as with all the expatriate Welsh in the audience, we had to finish off with our modern arrangement of Waltzing Matilda. The verses were finely sung by Drew and bass Geoff Serpell, skilfully combining their voices in exquisite harmony. From the stage it was a moving and stirring sight to see the audience rise to their feet as the lovely soprano and alto voices came over the top of the men with the unforgettable words of Hen Wlad Fy Nhadau.
Emotionally exhausted and clutching tissues, the audience wanted something more but were not sure what. So, to the musical accompaniment of piano, violin and mandolin, both choirs came down from their stage of musical triumph and surrounded the stalls. With the expectant patrons hushed, the wonderful words of Dylan Thomas gently blessed the milk-wooden walls and cast a final spell over everybody as we farewelled them with Eli Jenkins’ Prayer.
Audience comments included:
VicWelsh was in attendance along with men from the other two Welsh male choirs and Welsh ladies from Geelong and, this year, our guests the Ceredigion WI Choir. There were also representatives from a Filipino choir in the audience. Ilid Anne Jones was the guest conductor.
Congregational singing of eleven hymns, including favourites like Aberystwyth and Calon Lân, was led by the five choirs and joined enthusiastically by a congregation which filled the lower level of the church, overflowing into the upper level with the choirs (picture by Tony Davies).
The combined male choirs sang King of Glory followed by Geelong Ladies with Robat Arwyn's Benedictus. Later in the Gymanfa, all choirs combined on Morte Criste and Vivaldi's Gloria. Accompanying the songs were Rhys Boak on organ and a brass and tympani section.
Besides Ilid, the Welsh Church had also brought out from Wales Eleri Owen Edwards, the Blue Riband winner at the 2013 National Eisteddfod. She showcased her beautiful contralto voice with The Lord’s Prayer, Bless This House and My Little Welsh Home whilst being accompanied on piano by Ilid. Eleri’s baritone husband Aled joined her in Diolch I'r Iôr.
Kinglake
16th March 2014, St Peter's Church
On 16th March Victoria Welsh Choir was privileged to participate in the service led by Archbishop Dr Philip Freier which marked the opening of the new church of St Peter's, Kinglake, five years after its predecessor was destroyed in the devastating fires of Black Saturday.
Maldon - Côr Bach
22nd March 2014, Holy Trinity Church - Diary of a Welsh
Swagman: "I don't know about heaven, but I've just been there for two
hours." "Nostalgia, challenge, humour and beauty" "A wonderful musical
and spoken rendition of The Welsh Swagman."
On 22nd March our small choir (Côr Bach) ventured into the Goldfields area to present a specially requested "Swagman" first half for an afternoon concert at Maldon.
It was Maldon where the Welsh swagman, Joseph Jenkins, ended up working for the last nine years of his 25 years in Victoria in the late nineteenth century and where he was in charge of the town’s extensive road drainage system. Drew Hopkins narrated the extracts from the diary and Tony Davies was The Swagman.
By the keen interest shown and the nodding of heads it was clear that quite a few members of the audience were familiar with the diary and Jenkins’ role in keeping their town’s streets in good working order.
Fifteen appropriate songs, or part-songs, were interpolated with the text to add to the musical journey with Barry McMahon as soloist on Wandering the King’s Highway and Bob Ash on Working Man. Bendigo accompanist Elizabeth Paton took advantage of the church’s organ to augment Lorna Ogilvie’s keyboard.
Other soloists in the second half were Roger Barlett on Ferry ‘Cross the Mersey and the exquisite Maria, Bill Denholm on anvil in Anvil Chorus and Roger again in the finale’s Les Mis medley.
As is customary in the country, the choir and audience then moved to the hall for a well-earned afternoon tea and where, unsurprisingly, the local Swagman was still a topic of conversation, 120 years after he had left the town to return to Wales. We think he would have been pleased.
Audience comments included:
Doncaster
5th April 2014, Holy Trinity Church: "good variety of song
choices and inclusion of audience" "Harmonies lovely." "A spine tingling
experience!"
We were very pleased to be invited back to Doncaster on Saturday 5 April. Launching the concert with the dynamic Let All Men Sing - the title of our latest CD - set the tone for the afternoon. A bracket of traditional Welsh tunes was followed by Roger Bartlett’s beautifully modulated Maria from West Side Story.
Cwm Rhondda gave the willing audience a chance to open up their voices for the first time.
Rushan Hewawasam and multi-tasking compère Drew Hopkins then sang Rushan’s arrangement of the haunting Isle of Hope, Isle of Dreams.
Many members of the congregation recognised the next soloist, the Rev. Tom Morgan as he had been the vicar at Holy Trinity some years ago. As befitted his Welsh and Scottish heritage, he delivered a magisterial rendition of Highland Cathedral.
The audience tickled their tonsils at the end of a modern version of The Saints and Bill Denholm tickled the ironies on Anvil Chorus. Drew and Roger led the choir into a spirited search with Cherchez La Femme and John Hales and Geoff Serpell were suitably animated and armed in the comic Gendarmes’ Duet.
In our Celtic medley, Barry McMahon confidently gave us the choice of roads in The Bonnie Banks o’ Loch Lomon’, Ed Hughes moistened many a dry eye with Danny Boy and Roger brought his mellifluous tones to bear on An Eriskay Love Lilt. And then choristers and audience alike brought in a premature New Year with Auld Lang Syne.
Finally, Geoff and Roger combined on the special arrangement of Waltzing Matilda which segued brilliantly into the Welsh National Anthem at the end.
Judging by the comments below, the audience thoroughly enjoyed the concert as much as the choir did.
Rosebud - Côr Bach
17th May 2014, All Saints Church: "Excellent - engaged
audience!" "Superb! Beyond belief! So beautifully harmonised!" "A
flawless performance" "
The small choir (Côr Bach) journeyed down the bayside to present a Saturday afternoon concert at All Saints Anglican Church, Rosebud and was welcomed by Father Stephen Pollard. Compère for the day was Tony Davies.
After a spirited opening Let All Men Sing, we stirred the expectant audience with a bracket of traditional Welsh hymns and they happily joined with us in the last chorus.
Our oldest chorister Bill Denholm celebrated his 89th birthday by ‘playing’ the anvil in the Anvil Chorus from Il Trovatore. Robat Arwyn’s Anfonaf Angel was an emotional favourite only surpassed by Bob Ash’s authoritative Working Man, with the recent Turkish coal-mine disaster on our minds. Other soloists were Ambrose Morgan with a humorous tale of woe and Roger Bartlett with a beautifully interpreted Billy Joel song And So It Goes.
The first half closed with the technically difficult Australian song Pemulwuy and a modern arrangement of When the Saints with audience participation.
After interval the Celtic medley included strong solo performances by Roger and Barry McMahon and Bob came back to present the patriotic and thought-provoking Shelter.
John Hales and Geoff Serpell thrilled patrons with a wonderfully theatrical Gendarmes’ Duet, complete with authentic-looking truncheons.
Continuing the French theme, Drew Hopkins’ superb tenor voice led the choir, with help from Roger, John and Ed Hughes, as we all tried to find the lady in a rip-roaring rendition of Cherchez la Femme.
The finale was the powerful and emotional Les Mis medley with Roger in fine voice on Bring Him Home. After our encore, the church erupted with heartfelt applause and the handshakes confirmed that audience and choir alike had shared a very special musical experience together.
Audience comments included:
Birregurra - Côr Bach
25th May 2014, Christ Church Birregurra: "the blending of
your voices is heart warming" "Made me cry then massive enjoy" "A choir
of distinction with great voices, clear diction, a sense of humour and
obvious enjoyment in singing" "great selection of songs: good balance of
audience participation, fun and flag waving(!) laughter and tears of
joy"
On the afternoon of Sunday 25th May our Côr Bach (small choir) paid a return visit to Christ Church, Birregurra, after three years almost to the day.
Comments from the audience included:
A rousing opening bracket of Welsh hymns with audience participation very quickly warmed up the congregation and their voices. These were also very effectively employed in the final chorus of When the Saints.
Ambrose Morgan delighted patrons with his humorous tale; John Evans, author of the informative hymn notes, was a melodramatic anvilist; Bob Ash was enthusiastically applauded for his powerful Working Man and Roger Bartlett worked his magic on And So It Goes.
In the second half, the choir rose to greater heights in the Celtic Caprice with strong solos by Roger and by Barry McMahon. Bob Ash gave us another thought-provoking and emotional song with Shelter which resonated with many patrons as the sale of their church had been reprieved only six months ago.
Drew Hopkins was dynamic, along with Roger, as they led the choir in a tour de force Cherchez la Femme. Finally, Roger featured again with his mellifluous bass-baritone voice in the stunning medley from Les Misérables.
As
the choir surrounded the audience, the afternoon’s mutually
satisfying musical magic was complete and everyone went home or to
the splendid afternoon tea, with their spirits totally uplifted.
Audience comments included:
The noontime show at Parks Hall revealed a large and musically aware audience who very much appreciated the choir’s broad range, from traditional Welsh hymns, modern arrangements and Celtic favourites.
Informative and witty compering duties were shared by John Evans, Stephen Pepper, Tony Davies and Drew Hopkins. Ambrose Morgan got patrons laughing with his clever version of Hymns and Arias and Musical Director Faleiry Koczkar skilfully involved the audience early on with some spirited chorus singing.
There were marvellous solos from Ed Hughes, Drew Hopkins, Rushan Hewawasam (with his own arrangement of Carrickfergus), Barry McMahon and Graeme Sanderson and a very well-modulated duet from Drew and Jonathan Melland on Waltzing Matilda.
The afternoon show at St John’s Church was equally well-received with patrons asking for more at the end of the allotted hour. The musical program was nearly the same as the earlier show with the addition of The Anvil Chorus, complete with anvilist Colin Evans, and a humorous but instructive Welsh lesson by native speaker Stephen.
Speaking after our first performance our host complimented us on our quality and musicality as well as the breadth of our repertoire, and it was evident by the applause that Festival fans very much agreed. It was an absolute pleasure to be part of the Festival where we are sure we made a lot of new friends by showing the Welsh flag, both literally and musically.
After a rousing opening bracket Ambrose Morgan entertained the audience with a sporting tale of woe. This was followed by a trio of famous Welsh hymns before Roger Bartlett entranced patrons with You’re Still You, made famous by Josh Broban.
Rushan Hewawasam and compère Drew Hopkins plucked at the heartstrings with the haunting Isle of Hope, Isle of Tears.
After Anfonaf Angel and the challenging Pemulwuy, we closed the first half with When The Saints, with repeated choruses by tuned-in patrons.
The second half opened with the choir’s successful première of What Would I Do Without My Music?
Stephen Pepper gave everybody an amusing Welsh lesson and then made way for a very lively performance of the Gendarmes’ Duet by John Hales and Geoff Serpell.
More soloist talent was on display in the Celtic Medley with Alex van Mens making his début in Highland Cathedral, Ed Hughes with Danny Boy, Barry McMahon with The Bonnie Banks o’ Loch Lomond and Roger with the misty An Eriskay Love Lilt.
The finale was the fitting Auld Lang Syne with choir and audience linked up alike enthusiastically celebrating a wonderful afternoon’s concert.
Comments from audience members included:
After a three year gap David Hobson was again our guest artist, this time In A Celtic Mood at the Melbourne Recital Centre.
After a rousing opening bracket from the choir, David's beautiful
tenor voice entranced the large and appreciative audience with musical
gems from Benjamin Britten's Celtic Medley, made up of The Salley Gardens, The Ash Grove, The Foggy Foggy Dew, O Waly Waly, and Oliver Cromwell.
VicWelsh extended the concert's theme with the Welsh tune Dashenka,
complete with sound effects for the gipsies' horses. Faleiry then came
down from the conductor's rostrum to accompany David on her harp with Suo Gân and Dafydd Y Garreg Wen.
The choir closed out the first half with the Australian song Pemulwuy, followed by When the Saints which gave patrons an opportunity to exercise their voices before the interval!
To open the second half David surprised all his fans by flamboyantly
leaping straight on to the piano to mock-seriously tell the sad tale of Little Miss Muffet - with acknowledgments to Dudley Moore. He then thrilled the audience with his sheer versatility with The Maid of Culmore (his own arrangement); Non ti Scordar di Me, music by Ernesto de Curtis; Mattinata by Ruggiero Leoncavallo; and finally Granada by Agustin Lara.
The choir gave David a well-deserved rest by singing Yr Utgorn (the Trumpet) and the old favourites Aberystwyth and Gwahoddiad.
And then the star of the show was back, with the choir accompanying him on another Celtic medley with Shenandoah, Danny Boy, An Eriskay Love Lilt, a thumping Wild Mountain Thyme, All Through the Night and a rollicking Spanish Lady, the audience clapping enthusiastically in time with the chorus. Another Welsh favourite Cwm Rhondda saw David once again joining with the choir for a brilliant finale.
Off David went, but his devoted audience had not heard enough.
Thankfully he reappeared and, with the choir, reprised the song which he
sings at Carols by Candlelight every year, the wonderful Holy City.
As the last note died away David acknowledged his fellow musicians
Faleiry and Lorna, and the capacity audience gave them all a standing
ovation.
As witnessed by many comments, it was indeed a superb concert:
Brighton Icebergers - Côr Bach
25th July 2014, Royal Brighton Yacht Club: "Magnificent! Bread of Heaven! You made the night!"
On 25th July our Côr Bach took part in a function held by the year-round open water swimming group the Brighton Icebergers at the Royal Brighton Yacht Club. This function was to support one of their members, John van Wisse, who was about to compete in the Arch to Arc triathlon, starting the next day, in which competitors run from London's Marble Arch to the Channel, swim across to France and cycle to the Arc de Triomphe in Paris - a total of 461km.
Following a humorous opening to the evening's proceedings by the Icebergers' best-known member, Ted Baillieu, we introduced ourselves with two staples of the Welsh choral repertoire, Men of Harlech and Rachie. Then came our reason for being there, as we sang four well-known tunes, but with different words penned by Ted to celebrate the exploits of the Icebergers in general and John van Wisse in particular. The tunes were Hallelujah by Leonard Cohen, Jerusalem, Edelweiss and You'll Never Walk Alone. As for the words ... well, you just had to be there.
The large and vociferous audience obviously enjoyed it all, and the next day we received the following words from Ted:
Report by Jonathan Melland.
Memorial Lunch
The choir opened with a bracket of four songs: Rachie, Amazing Grace, Si Hei Lwli Mabi and Working Man. A mellifluous performance from Geoff Serpell as soloist on Working Man earned a standing ovation from the audience. Ending its program with Cwm Rhondda, Myfanwy and Men of Harlech, the choir left the stage to rapturous applause from the audience.
Report by Tony Edmonds
Wagga Rugby Club Choir
16th August 2014, Civic Theatre Wagga
On Saturday 16th August the Vic Welsh choir travelled 450km north to Wagga Wagga, NSW for the first leg of a weekend country tour. There, to a sell-out crowd of around 400 people on Saturday evening, we presented a joint concert with the Wagga Rugby Club Choir at the marvellous Civic Theatre. The Vic Welsh sang with the Wagga Rugby Choir in London in 2012 at the Royal Festival Hall, part of a 530-strong choir drawn from around the world in one of the cultural events leading up to the Olympic Games.
The Wagga choir opened the first half of the programme with: Let All Men Sing, The Rose, Hallelujah (Leonard Cohen) and a Sinatra medley. The Vic Welsh then followed with: Men of Harlech, Rachie, Dashenka, What Would I do Without My Music and Amazing Grace.
After interval, Vic Welsh opened the second half of the programme with: Anvil Chorus (Il Trovatore), Si Hei Lwli ‘Mabi, Anfonaf Angel and Waltzing Matilda. The Wagga Rugby Choir then sang an: American Trilogy, Where Will I be, My Wish For You and World In Union.
The concert ended with both choirs on stage, some 80 male voices, giving stirring renditions of When the Saints Go Marching In and Stout Hearted Men – both of which the two choirs sang together in London – a fitting end to a wonderful evening, one which was much appreciated by the large and very enthusiastic audience.
On Sunday 17th August, following our concert on the 16th at Wagga Wagga, Vic Welsh completed the second half of its country tour with a concert at the Plaza Theatre in Kyabram, northern Victoria. The concert was compered by Rob Hopman, a member of the choir’s Bendigo chapter.
To open the concert, the choir sang a rousing bracket of three favourite Welsh hymns: Rachie, Aberystwyth and Cwm Rhondda. Ambrose Morgan then entertained the audience with a sporting tale of woe, following which the choir sang: Let All Men Sing, What Would I do without My Music and Working Man, the latter featuring Geoff Serpell as soloist.
Roger Bartlett then enthralled the audience with You’re Still You, before the full choir ended the first half of the performance with: Amazing Grace, Anvil Chorus (from Il Trovatore) and When the Saints Go Marching In.
The choir opened the second half with Yr Utgorn (The Trumpet), Anfonaf Angel and Dashenka, after which Rushan Hewawasam and Drew Hopkins sang the beautiful but haunting duet Isle of Hope, Isle of Tears. This was followed by a Celtic Medley consisting of Gwyr Harlech (Men of Harlech) and three other songs: Highland Cathedral (featuring Alex van Mens as soloist), Loch Lomond (soloist, Barry McMahon) and An Eriskay Love Lilt (Roger Bartlett).
The formal part of the programme ended with the choir’s own rousing arrangement of Waltzing Matilda. Upon being asked by the audience for an encore, the choir sang, unaccompanied, the lovely Welsh lullaby Si Hei Lwli ‘Mabi – a beautiful way to end a wonderful afternoon’s concert.
Comments from audience members included:
And from the organisers:
The concert was opened by the Legends, followed by the choir with its first bracket of songs. The bracket started with two very popular Welsh hymns Men of Harlech (Gŵyr Harlech) and Rachie, and finished with When the Saints Go Marching In. The Legends and PLC then each played several pieces before VicWelsh returned to the stage to sing: Anvil Chorus (from Il Trovatore), Yr Utgorn (The Trumpet) and What Would I do Without My Music. The first half of the concert closed with the Legends playing the overture to Orpheus in the Underworld.
After interval, the Legends opened the second half of the program with some more stirring music. VicWelsh then sang a third bracket of songs: Anfonaf Angel, Mae Hen Wlad Fy Nhadau (the Welsh National anthem) and, accompanied by the Legends, I Vow to Thee My Country. PLC then played a final rousing bracket of tunes on the bagpipes and drums, including the lovely Highland Cathedral.
The program finished off in true London Proms style. Accompanied by the Legends, and with marvellous audience participation - including much waving of flags - the choir sang: Jerusalem, Rule Britannia (featuring our very own John Hales as soloist) and Land of Hope and Glory. The Proms then ended in traditional fashion with the Legends playing and everyone in the audience and the choir linking arms and singing Auld Lang Syne, loudly and with great enthusiasm!
Report by Tony Edmonds
The choir was very happy to be back in Ballarat, albeit at a different but equally splendid venue. Bendigonian Rob Hopman acted as compere for the day and ably steered proceedings through a packed and wide-ranging musical afternoon.
Regular attendees at VicWelsh concerts are always impressed by the fact that the choir performs their extensive repertoire from memory, so our opening number What Would I Do Without My Music seemed self-evident but it proved to be a rousing show-opener.
This was followed by a couple of well-known Welsh songs, then North Walian Stephen Pepper brought a humorous educational slant to the proceedings with some Welsh pronunciation.
Switching into Latin for Benedictus, then back to Welsh for a lullaby and Anfonaf Angel and concluding the bracket with the Australian song Pemulwuy showcased the choir’s versatility in languages and styles.
Tenor John Hales and the choir brought an element of Last Night at the Proms to the afternoon with a stirring rendition of Rule Britannia which harked back to the glories of the eighteenth century.
Moving forward to the First World War, the audience and choir kept each other in musical company with a medley of well-known numbers, finishing the first half with extended exhortations to Smile, Smile, Smile!
Let All Men Sing launched the second half and the following Celtic medley gave opportunities for the audience to enjoy a range of individual choristers’ talents.
In deference to the Scottish background of the venue, St Andrews Kirk, Alex van Mens confidently led the choir in the soaring Highland Cathedral; Ed Hughes tugged at the heartstrings with Danny Boy and Drew Hopkins lilted us through the Hebrides. Native Welshmen Stephen Pepper and Stephen Lynn combined in All Through the Night and Irish descendant Barry McMahon charmed patrons into singing along with the choruses of Loch Lomond.
After this rollicking medley, Faleiry turned down the musical wick to offer the audience an a cappella rendition of that old favourite Myfanwy in response to a special request.
Holding the mood, baritone Bob Ash sang a beautifully modulated Shelter.
In the finale of the medley from Les Misérables, the solo part was taken by Melinda Ash whose exquisite soprano voice left the audience wanting more.
Comments from audience members included:
Gisborne - Côr Bach
19th October 2014 at the Uniting Church: "A joy to hear" "Nicely relaxed concert." "choir harmonise beautifully" "wonderful feeling of camaraderie - spilled out into the audience" "Excellent singing, entertaining humour"
The small choir Côr Bach journeyed to Gisborne on a sunny afternoon. Baritone Bob Ash came over from Tylden to be compère for the performance.
Patrons got an early opportunity to test their voices by singing along with the chorus of Cwm Rhondda. This was followed by two other Welsh tunes and What Would I Do Without My Music.
John Hales and Geoff Serpell melodramatically presented the humorous Gendarmes’ Duet before the choir launched into a medley of toe-tapping American Gospel songs, Rushan Hewawasam and Drew Hopkins then sang a lovely tenor duet with Isle of Hope, Isle of Tears.
Some opera followed with the Anvil Chorus from Il Trovatore complete with Col Evans on anvil. The beautiful Anfonaf Angel was next and then the musically challenging modern work Pemulwuy. The first half concluded with a new arrangement of When the Saints with the audience having a good sing before interval.
The second half opened with the rousing Let All Men Sing before showcasing the talent from within the choir ranks with Bendigonian Ken Simpson featuring on Highland Cathedral, Ed Hughes on Danny Boy, Drew Hopkins with An Eriskay Love Lilt, Stephen Pepper on All Through the Night and Barry McMahon with Loch Lomond, complete with audience participation with the chorus.
Local man Stephen Pepper came back to teach patrons some Welsh, in his inimitable Welsh way and then John Hales returned to offer the stirring Rule Britannia.
The finale was a selection of songs from the First World War, ending up with ‘Smile, smile, smile’ which nicely echoed the audience’s obvious pleasure at the end.
Comments from audience members included:
For our last main choir concert of the year we were invited back to the burgeoning area of Hoppers Crossing, and the very keen audience was delighted to quickly open up their voices by joining in with the chorus to Cwm Rhondda, Rachie, Amazing Grace and the rhetorical What Would I Do Without My Music set off the afternoon at a cracking pace. John Hales and Geoff Serpell then delighted all in the hall with an extremely polished humorous performance of the Gendarmes’ Duet.
Changing the tone, the choir showed its tender side with an a cappella Myfanwy followed by the romantic Anfonaf Angel and the musically challenging Pemulwuy. Whilst in contemplative mood, Bob Ash then sang a beautifully modulated Shelter by Eric Bogle. Then it was time again for patrons to sing along with a medley of well-known songs from WW1 as everybody Smile, Smile, Smiled their way into the interval.
The second half ripped into action with the stirring Let All Men Sing before showcasing individual choristers’ talents in the Celtic Medley. Ken Simpson confidently led the choir in Highland Cathedral, Ed Hughes caused eyes to mist over with Danny Boy; Scotch mist was invoked by multi-tasking soloist and compère Drew Hopkins. Second tenors and fellow Welshmen Stephen Pepper and Stephen Lynn featured on All Through the Night and Irishman Barry McMahon (the smiling bass) helped choir and audience to tunefully find the right road in Loch Lomond.
Hard-working Drew and Rushan Hewawasam then melodiously combined to tell us about Ellis Island in Isle of Hope, Isle of Dreams which noticeably affected many in the hall.
The talented second tenor Rushan then featured as soloist in the Les Mis medley, the finale of which elicited sustained applause from an audience who had truly been an integral part of a shared musical experience which, during the afternoon, had taken them on an emotional roller-coaster.
Everyone then stood for the Welsh National Anthem before the choir exited the stage to the strains of Men of Harlech. Once the applause died down it only remained for choristers, surrounding the audience, to bid them a fond farewell courtesy of Eli Jenkins’ Prayer.
Audience feedback included:
Remembrance Day
9th November 2014 at the Springvale War Cemetery
On 9th November 2014 Victoria Welsh Choir led the singing at the
Remembrance Day Service at the Springvale War Cemetery for the eighth time
since 2004.
Drew Hopkins (Narrator) and Tony Davies (Swagman) first performed their presentation of A Diary of a Welsh Swagman at the Castlemaine Festival in April 2011 to tie in with that year’s theme of Storytelling. We were therefore delighted to be asked once again to repeat the event, along with 15 relevant songs or part-songs interpolated with the text. Soloists were Barry McMahon on Wandering the King’s Highway and Bob Ash on the ever-popular Working Man.
Photo Max Lesser, Castlemaine Mail
In addition to the always brilliant accompanist Lorna Ogilvie, we were fortunate to also have the talent of our Bendigo chapter’s accompanist, Liz Paton, as organist for the day.
The second half ignited with What Would I Do Without My Music and the musically testing Pemulwuy complete with co-ordinated clapsticks. Bob Ash then came back with his lovely rendition of Eric Bogle’s Shelter.
In our Celtic medley, the choir’s depth of talent was on display with soloists Ken Simpson on Highland Cathedral, Ed Hughes on Danny Boy, Drew Hopkins on An Eriskay Love Lilt and Barry McMahon on Loch Lomond, which also gave the audience an opportunity to sing along with the chorus. And native Welshmen Stephen Lynn and Stephen Pepper combined on a well-modulated All Through the Night.
This was followed by another great duet with Drew and Rushan Hewawasam harmonising on Isle of Hope, Isle of Tears.
Finally, given the year, the choir sang a medley of songs from World War One and the audience was once again pleased to join in with some of the choruses and we all finished with Smiles all round.
Compère Tony Davies briefly commented that 1914 was famous also for it being Dylan Thomas’ birth year.
By request, the Welsh National Anthem was sung and then the choir marched off to a reprise of Men of Harlech. By the time patrons had sat down again and choristers found their opening notes, the words of Dylan Thomas once again floated through the excellent acoustics of this old church.
Observations from members of the audience included: