Media

Auckland Welsh Choir supports the Welsh Rugby Team

Rugby World Cup 2011

When the Auckland Welsh Choir was invited to sing at SouthMall in Manurewa, which was hosting the Welsh during the first weekend of the Rugby World Cup, they little knew it was going to be the first of many gigs for the cup.  In addition to their regular formal concerts, the concert has now sung on the huge stage next to the Cloud at Party Central on a chilly, wet and squally day; at a rugby club full of exuberant rugby supporters in Remuera; on Maori TV, BBC, French and Sky Sport TV.  They have sung in wind and rain, in cold and in sunshine.  Wearing extra red clothing adorned with Welsh flags and scarves, they sang for Sky TV outside the Viaduct Events Centre, against a backdrop of sleek boats, city skyline, and the Sky Tower, while a Welsh/Auckland type rain gently fell.  Only when watching the gig later on television did members spot a tiny elderly woman with a yellow umbrella, standing on tip-toe behind one of the tallest men in the back row and holding her umbrella over his head!  Auckland Welsh Choir has had fun being part of the Rugby World Cup and their only regret is that all their enthusiastic singing did not ensure that Wales came through the semi-finals.  But Welsh rugby fans worldwide would have been reassured that Kiwi Welsh and Auckland Welsh Choir were behind their team.   

Reviews

St David’s Day Concert Takapuna

North Shore Times, 4 March 2012

The Auckland Welsh Choir celebrated St David’s Day with a varied and soaring performance of choral, solo, and group singing to a packed audience at St Joseph’s Church, Takapuna. The Celtic Colours concert included traditional Welsh, Irish and Scots music – some of the latter enhanced by the haunting accompaniment of bagpipes. Harpist Anna Dunwoodie and smallpiper Shane Stewart played a set which included a couple of catchy Welsh ditties. Choir director Diana Rhodes included Mendelssohn’s ‘Verleih uns Frieden’ among the Celtic songs. Recently performed with the Devonport Chamber Orchestra, that and one other piece in German may have seemed out of place, but we were reminded by Philip Morgan Rees, the choir’s chairman, that the Celts originated in Central Europe. Perhaps one of the most lyrical pieces was ‘A Bunch of Thyme’, described by a member of the audience as “like watching sunlight catch the tips of mountains and then fading, only to return.” Arranger Michael Neaum excels in reworking some of the world’s most attractive folk melodies for female voices. A star of the show at the opening of the second half was the piper with drummer, dramatically entering the church playing ‘Flower of Scotland’ to be met by five soldierly men singing the song in Welsh. A dramatic and controversial interpretation of ‘Men of Harlech’ rounded off the afternoon. But the concert was not over until the audience happily joined the choir in singing ‘Cwm Rhondda’ (Guide me oh thou great Jehovah). Some of the audience reminded themselves to bring cushions next year – the pew seats were hard! But no complaints from North Shore Hospice, the concert raised $4000 for them.

Orchestra and Choir team up again for Christmas Extravaganza

Devonport Flagstaff, 9 December 2011

Devonport Chamber Orchestra and the Auckland Welsh Choir performed a medley of Mendelssohn classics, along with some well known Christmas and Welsh songs for their final concert of 2011. After a brief but warm welcome from Holy Trinity’s Reverend Braatvedt, the concert commenced with a voice only piece; Gustav Holst’s ‘Lullay my Liking’. The talented choir of over 40 singers made an excellent job of this beautiful song. The choir then changed formation for their first main performance ‘Verleih uns Frieden’ by Felix Mendelssohn. The deep tones of the larger strings and men’s voices created a solemn but peaceful feeling at the commencement of this work. When violins, female voices, and winds were included later, a wonderful new dimension was imparted, with the effect of the full choir adding a touch of grandeur. Mendelssohn wrote the ‘Hebrides Overture’ after making an unforgettable visit to Fingal’s Cave on the island of Staffa. The majestic opening, involving the full orchestra, would be familiar to many. There is great texture in this piece, which allowed DCO to demonstrate their many talents and there was a particularly lovely solo from the clarinettists. Steven Rapana’s conducting style added suitable flair and passion to this dramatic work. The third Mendelssohn item, ‘Hear my Prayer’ saw the return of orchestra and choir working together. This time we were treated to solo performances from singers Diana Rhodes, Sheridan Williams, Steven Rapana and Brooke van Velden. Each singer bought a different quality to the piece, the pitch of their voices well-matched to the accompaniment of the orchestra. I thought Williams gave an especially strong performance. Throughout there was an overall sense of Christmas spirit and harmony, skilfully brought together by Rhode’s capable conducting abilities. Next were two relatively brief pieces; Ave Maria and Silent Night. Both were given special treatment by musicians and singers, with Pene Brawn-Douglas playing solo flute and Lynette Read piano for Ave Maria, and Philip Morgan Rees singing solo in Welsh for Silent Night. The choir provided accompaniment for both with very pleasing results all round. For Michael Praetorius’ ‘Sing Dem Herrn’ a select number of choir members formed into a chamber choir. The combination of their singing was superb and reminded me of bells chiming in one of Europe’s great cathedrals. Later in the piece, more singers joined the group and the additional accompaniment of wind instruments made for an emotive performance. Christus, the fourth Mendelssohn work performed by orchestra and choir, signalled a change of pace with the double bass initially giving a very Germanic flavour. Singers Sheridan Williams, Steven Rapana, Desmond Tonkin, Philip Morgan Rees and Phillip Austin gave impressive performances against this backdrop, with a dramatic conclusion that involved the full participation of orchestra and choir. This should have been the final piece of the concert but the performers agreed to a second performance of ‘Hebrides Overture’, following a request from audience members who had arrived late, mistaking the concert starting time. I found the second performance to be every bit as good as the first. Then, as an extra special treat for the latecomers, one final performance was staged – the Welsh National Anthem. Despite my lack of Welsh blood, I couldn’t help getting a tear in my eye on hearing the Auckland Welsh Choir and DCO’s fine playing in Steven Rapana’s arrangement of this traditional anthem.

Maria Teape

Orchestra and Choir Combine to Grand Effect

The Devonport Flagstaff, 17 December 2011

While their compatriots were suffering arctic climes in the homelands, the Auckland Welsh Choir performed in starkly contrasting temperatures with Devonport Chamber Orchestra (DCO) on Sunday 28 November. Held in Devonport’s Holy Trinity Church, this performance was DCO’s grand finale of the year and very grand it was. We were treated to an extensive and varied concert featuring traditional Welsh songs, favourite baroque pieces and the hauntingly beautiful world premiere of Christopher Marshall’s Canco del Mar (Song of the Sea). The first piece of the day was Hen Wlad Fy Nhadau. According to the programme notes it is the traditional national anthem of Wales. This version was a collaboration of the strings, winds and full choir; with a solo performance by tenor Steven Rapana. It began softly, first with just the choir, followed by strings, then winds. Rapana’s big voice was well suited to this very patriotic song, which swelled in volume to a triumphant ending. Rapana changed to conducting role for the next piece: Verdi’s Chorus of the Hebrew Slaves (Coro di Schiavi Ebrei). This well known song from the opera Nabucco, tells the story of the Jewish exiles from Babylon, after the loss of the First Temple in Jerusalem. There was great synergy between the orchestra and choir in this piece; both producing powerful tones, but neither overpowering the other. Mozart’s Ave Verum Corpus was very relaxing to listen to. This is only a short score, composed for choir, strings and organ. It was the perfect piece to showcase the choir who put on a stellar performance, while the orchestra took on a more understated role. The audience was suitably impressed. Before the fourth item commenced the choir took their leave as Mozart’s Sinfonia Concertante is only for winds and orchestra. In addition to the main orchestra, a quartet was seated out in front with Eugenie Middleton playing the oboe, Michael Miller – clarinet, Craig Bradfield – bassoon, and John Ure – french horn. They were consummate musicians, putting on a very polished performance with great expression, while the wind instrumentalists in the orchestra provided excellent support. Two of the quartet members were guests from the Navy Band (Miller and Bradfield), along with conductor Colin Clark. Next was the much anticipated premiere of Canco del Mar. We thought both the choir and musicians (just six musicians for this piece) did a superb rendition of this eclectic piece. There were beautiful tones from the winds, particularly the bass clarinet played by Andrew Uren; and enchanting nautical tones from Harry Peirse’s keyboard, It was very evocative of being at sea with all it’s different moods. The piece concluded with haunting tones from Rosana Fea’s violin and a collective sigh from the choir. The sixth piece saw the return of the full orchestra again. The choir left the stage with the exception of soprano soloist, Diana Rhodes. Together DCO and Rhodes performed the Ave Maria Intermezzo from Mascagni’s Cavalleria Rusticana, one of the greatest sensations in opera history. From its subtle beginning to it’s stirring conclusion Diana Rhodes entranced us with a very strong performance. Y Deryn Pur is another traditional Welsh song which translates to ‘O Gentle Dove’. We thoroughly enjoyed the wonderful Celtic tones the choir, guitar, piccolo and violin produced. Diana Rhodes who conducted this piece explained to the audience afterwards that the piccolo is representative of the dove in what is essentially a love story. The final item of the concert was a combination of John Rutter’s Angel’s Carol, a beautiful and moving Christmas song, followed by a Welsh inspired piece jointly produced by Diana Rhodes and Steven Rapana. Once again the choir put on an outstanding performance, delightfully accompanied by DCO. This has been another wonderful opportunity to get up close and personal with top rate performers. It is a privilege made possible by the community spiritedness of DCO and their associates.

Maria Teape