It's a quite a daunting prospect to perform in front of an array of industry conductors, composers, publishers and educators, and yet Corra Sound really rose to the occasion at the Association of British Choral Directors' annual convention in Reading in October, and we were bowled over to receive such outstanding reviews.
Every performer embraced this unique opportunity and invested real commitment, passion, precision and joy into the occasion, and we were rewarded by an overwhelmingly appreciative and enthusiastic audience. Composers and choral leaders stunned us with their reaction to the event, saying:
“It was a superb performance of thrilling and imaginative repertoire. I loved the warmth and vibrancy of the sound of the choir, and the passionate and engaging performances from every individual member of the group.” Joanna Tomlinson (Musical Director, NYCGB)
“I want to restate how much I enjoyed Corra Sound's performance last night. (I was) blown away by the performance - the blend of the voices and clarity of diction were just exceptional.” Francis Faux (Composer)
“FAB! Such brilliance, joy, detail, colour, variety. LOVED LOVED LOVED it.” Neil Ferris (Director, BBC Symphony Chorus, Sonoro)
Our journey; reflected throughout the gala programme
Corra Sound was primarily established as an opportunity for women to sing together at a high level, and to discover and perform choral music written by women. We focus on female composers in the main, in order to introduce audiences to music they are unlikely to have heard before, to redress gender imbalance in programmes and to illuminate historically under-represented composers.
It’s been quite a journey since our beginnings in 2018: our repertoire has grown exponentially and spans upper voice choral music from all over the world, focussing predominantly on twentieth and twenty-first century music. We have sung pieces by members of the ensemble (which include Anna Tabbush, Clare Wheeler and myself) and by those who were selected from our recent Call for Scores, alongside better-known international composers.
Our gala programme (performed in the University of Reading’s impressive Great Hall) showcased a broad range of sacred and secular music, both a cappella and accompanied by piano, harp and boomwhacker(!), following the themes of water, philosophical journeys, Mary and child, and female strength. I often spend an inordinate amount of time designing thematic choral programmes for my choirs to sing, but that investment invariably pays off in performance, making it all worthwhile.
“Corra Sound's performance was stunning, with beautiful phrasing, sensitivity to the text, vibrant vocal colours and all delivered with stylish panache. A thoroughly engaging, enjoyable and uplifiting performance.” Sarah Tenant-Flowers (Director, Papagena)
The water theme included Eleanor Daley’s The Lake Isle of Innisfree and Elaine Hagenberg’s Shadow River, both describing nature’s awe-inspiring beauty, which were skilfully and sensitively accompanied by pianist Caroline Page. This set was completed by Gustav Holst’s Hymn to the Waters (Rig Veda), showcasing harpist Cecily Beer’s technical and polished playing.
Our subsequent theme, philosophical journeys, began with Imogen Holst’s exquisite setting of Welcome Joy and Welcome Sorrow and Shed no tear, setting poetry by Keats and once again featuring the harp. Imogen’s work creates a deep sense of longing for something lost, and this mood continued into Ēriks Ešenvalds’ gorgeous setting of Sara Teasdale’s poem, Only in Sleep.
We were thrilled to be able to programme this piece knowing that Ēriks would be at the convention. To have his interpretative insight in rehearsal, and to be conducted by him in concert was a real highlight for us all. Soprano Camilla Jeppeson lifted the performance even further through her effortlessly beautiful solo.
Mary and Child (theme three) included a quartet of sacred works: Eva Holms-Foosnæs’ expansive Salve Mater, my own mediaeval-influenced Blessed be that Maid Marie, Sally Deere-Jones’ folk-infused Veni Coronaberis and Kelly-Marie Murphy’s joyful Hodie Christus Natus Est, with the final two once again being accompanied by harp.
Our final theme, female strength, contained two pieces selected from our Call for Scores: Amanda Dean’s Air, Heart (a workshop winning piece), accompanied by boomwhacker and inspired by Amelia Earhart, creating the fun, thrill and elation of flying; and Erik Meyer’s Unfortunate Coincidence (an overall winner), a short and witty amuse-bouche, setting words of the inimitable Dorothy Parker.
Our hour-long concert culminated with two of our firm favourites: She is the River, written by the brilliant Don MacDonald, and Alexandra Olsavsky’s What happens when a woman?, which provokes important questions about female strength and features body percussion throughout.
Reflecting on the abcd experience
Having been to numerous Association of British Choral Directors (abcd) conventions, I have frequently admired the high standards in the gala concerts, especially of the international choirs. I have the fondest memories of the convention in York when the Estonian Boys Choir, Scunthorpe Cooperative Choir and Texas Tech University Chamber Choir all performed, which was met with rapturous applause! This particular year was significant for me because it was then that I accepted Dr. John Dickson’s invitation to study for a Doctoral degree in Choral Conducting with him in America.
I have long cherished the excellent choral legacy established by annual abcd conventions, so to have an overwhelmingly positive response from such a discerning audience was genuinely gratifying and very emotional indeed. To receive such generous feedback from professional colleagues whose opinion I highly regard, was deeply validating and it certainly made the hard work and emotional investment truly worth it!
“a brief message to say again how brilliant the Corra Sound concert was - such an out-and-out triumph!” Janet Wheeler (Composer)
“Just a quick note to say how fabulous Corra Sound's concert was on Saturday night. Brilliant programme, beautiful singing and you all just look like you're having such fun!” Alison Willis (Composer)
What next?
After our Christmas concert on 14th December, our future plans are to perform and record our Call for Scores winning pieces in Guildford on Sunday 18th May, so do make a note of this date in your diaries and watch this space for further details!
Comments