Our next concert will feature arias, duets and choruses from some of the best loved operas, operettas and musicals.
Sunday 18 August 2019 at 2:30pm
St Luke’s Uniting Church, Barrabool Road, Highton.
Our next performancesLearn more
New members are welcomeLearn more
Singing for all. Come along to our Singing the Classics days.Learn more
The most recent Singing the Classics was choruses from The Messiah by Handel. A great afternoon of singing was appreciated by about 70 keen singers.
Sunday July 7 at St Luke’s Uniting Church, Cnr Barrabool & Scenic Rds, Highton from 2.00pm to 5.00 pm.
The Geelong Chorale’s first concert for 2019 was the opening concert of Music at the Basilica’s 11th Annual Windfire Music Festival. It was a spectacular program of music for double choir, brass ensemble and organ, featuring music from the Renaissance to the present day.
Friday 10th May, 7.30pm
Basilica of St. Mary of the Angels
136 Yarra Street Geelong
The Choral Grapevine
Trumpets sound with Wind and Fire
Sound The Trumpet, presented by Geelong Chorale directed by Allister Cox, St Mary’s Basilica, May 10, 2019.
This, the opening concert of Geelong’s annual Windfire Music Festival, proved perfect for the occasion. It was a memorable concert that took full advantage of the Basilica’s superb acoustics.
My initial impression was of a warm, welcoming atmosphere with hanging glass lanterns and glowing radiators.
A welcoming address from from Fr James Clarke led to a stirring, resounding intro, Entrata Festiva, a modern (20th Century) piece featuring Daniel Ballinger and Sarah Hepworth’s trumpets, Melissa Shirley’s horn, Stewart Armitage’s trombone and the Basilica’s thundering, mighty organ played by Frank De Rosso.
Then the Chorale members entered, only to disappear again as they took up positions in the acoustic sweet-spot in the space behind the venue’s original altar.
The blend of their voices, without accompaniment was perfect in its resonance as they sang Guerrero’s Cantite tunba in Sion.
That musical contrast between first and second items assured us in the audience that we were about to experience a programme of thoughtful excellence.
The choir then moved into sight at the front of the original altar, resplendent in their neat black and red, and Allister Cox introduced us to three works from the 16th century. First, Jacobus Gallus, whose Pater Noster used choir and brass to excellent, full and harmonious effect, followed by an a capella rendition of Giovanni da Palestrina’s calm and beautiful Sicut Cervus.
This was followed by Scarlatti’s glorious Exultate Deo with its joyful praise to God ringing throughout the rafters.
The choir changed position once again to risers on the right of the first row of pews, allowing the brass to move closer on the left.
Together they presented Gabrielli’s Canzona ´a 4 with sympathetic style.
Then followed a sharing of brass and voices to present the music of Hassler’s Missa Octo Voci, sung in Latin and accepted with warm applause.
At one point the director’s microphone failed mid-introduction, but Allister simply raised his voice to be clearly heard, demonstrating the excellence of the venue’s acoustics.
After a short interval the concert took a more modern, contrasting turn with Christopher Willcock’s challenging Easter Moon. The composition’s strident and sometimes pensive tones were handled with accomplished ease by choir and musicians.
Then came an unusual inclusion, with three different versions of Ave Maria, from Bruckner, Biebl and Laurisdsen. Allister explained that he had chosen them as appropriate because of the venue, (St Mary’s Basilica) as well as referencing the forthcoming Mother’s Day. The subtle differences and variations of tune and style added a deal of interest as the pieces were sung consecutively.
Then followed a triumphal and stirring Grand Choeur Dialogue with Frank De Rosso at the organ and the Choir in full voice, thundering down from the venue’s choir loft.
The concert finished on a different, but equally stirring note with the brass leading into voices to present Pachelbel’s rousing Nun Danket all Gott.
Taken together, this concert set the Windfire Festival to a stirring start while demonstrating our city’s exceptional quality of musicianship and choral abilities.
– Shirley Power
Tom Healey, accompanied by wonderful Sonoka Miyake, took an enthusiastic group of singers through Carl Orff’s Carmina Burana on Sunday 7 April at St Luke’s. Our first ‘Singing the Classics’ for 2019.
An exciting year coming up for the Chorale! Here are the dates for your diaries.
• Friday May 10, 2019 – concert for Music at the Basilica’s annual Windfire Festival at St Mary of the Angels Basilica.
• Sunday May 26, 2019 – Music at the Basilica Massed Choirs Concert at St Mary of the
Angels Basilica. Geelong Chorale members will be participating.
• Sunday August 18, 2019 – Opera and Operettas concert.
• Saturday December 7, 2019 – Christmas carols concert.
The Geelong Chorale presented a concert to acknowledge the centenary of the WW1 Armistice. Sunday 11 November 2018, 2:30pm, St Paul’s Anglican Church Latrobe Terrace, Geelong
The Choral Grapevine: In Remembrance: Sunday, November 11, 2018
Entertainment Geelong: https://entertainmentgeelong.com/reviews-2018
A concert of additional significance
In Remembrance, presented by The Geelong Chorale, director AllisterCox, St Paul’s Church, November 11, 2018,
The date, November 11, 2018 marked 100 years since the signing of the armistice that brought an end to the Great War.
It was commemorated in Geelong with two extraordinary musical concerts held in different churches, both chosen for their acoustics rather than secular symbolism.
The first, held on the evening on Friday November 9 in St Mary’s Basilica is reviewed below.
This, second concert, was held on the afternoon of the date itself, November 11, in St Paul’s Church.
Although organised separately and by different groups, the concerts shared similarities. There was a core of singers involved in both events, but that was hardly surprising, considering that they sought to recruit the best available voices in our region.
They shared a common format, in linking the music with the recitation of poems written at the time. And both concerts used Wilfred Owen’s Anthem For Doomed Youth and Edward Elgar’s For The Fallen as early introductory works.
But there the similarities ended.
For where the St Mary’s concert had chosen to illustrate the war’s massive orgy of death and destruction in its selection of works, this concert chose to celebrate the peace that followed the armistice’s signing.
As such, the two concerts actually complimented each other, both musically and historically.
This one, organised by The Geelong Chorale with its conductor Allister Cox and guest soloists, consisted of two major works written four years apart – either side of the war – to illustrate the emotions at those times. There were other, smaller works adding contrast and colour.
The afternoon’s theme was set by the Chorale’s Tim Gibson, released from his singing duties to read selected poems with gravity and clarity. He opened the concert by reading Siegfried Sassoon’s poem Aftermath. This was followed by the chorale singing Matthew Orlovich’s Lest We Forget before Tim read For The Fallen, containing the now-immortalised lines ‘age shall not weary them, nor the years condemn..’ put into its correct context.
This led to the Chorale singing Owen’s Anthem for Doomed Youth before delivering Elgar’s For the Fallen in full, with all of its dark, challenging complexities. This mammoth piece was faultlessly delivered by the Chorale and soprano soloist, Fiona Squires, accompanied by Kristine Mellens’ piano and with input from Jess Morris’ clarinet.
Then, following a short interval, the concert’s second half was almost entirely given over to Theodore Dubois’ Messe de la Déliverance, written to thank God for bringing peace at the war’s end.
This work’s seven segments of soaring praise and triumphal hosannas not only contrasted what had gone before, it was delivered in Latin with plenty of sacred musical complexities.
And the Chorale delivered a near-faultless performance, accompanied by Beverley Phillips at the church’s organ, with two excellent soloists in tenor David Campbell and baritone Manfred Pohlenz.
In an unusual touch, David and Manfred, while seated in front of the Chorale between their solos, joined in with its male voices in their big choral movements.
And together, they sent the Chorale’s voices – and that sacred thanks – soaring and resounding through the venue’s excellent acoustics.
And it brought such a suitable, and memorable, end to the weekend of remembrance.
– Colin Mockett
“Singing the Classics”, on Sunday 12th August, at Wesley Church, 100 Yarra Street, Geelong from 2-5pm, was enjoyed by everyone. Our own Anne Pilgrim took us through Dona Nobis Pacem by Ralph Vaughan Williams. John Bumford was our talented accompanist for the day.
Dona Nobis Pacem is a 6-movement cantata, in which Vaughan Williams has chosen text from Walt Whitman, written to describe why war should never occur again. Some OT texts are included, too. Whitman was a medical orderly in the American Civil War and had experience of the effects of war, and his poetry is alive with feeling. The work is very much a choral work, with the orchestra used to support the meaning of the texts, and solo soprano and baritone lines set beautifully. We’ve chosen it for its beauty and because of the proximity of the centenary of Armistice Day.
Watch out for the announcement of the program for 2019 soon.
Sunday 5 August 2018, Requiem by Faure and other French choral music.
St Paul’s Anglican Church, LaTrobe Terrace, Geelong at 2.30pm.
The Stars Aligned in Concert
Fauré Requiem with motets by Fauré, Duruflé, Gounod, Franck & Villette sung by the Geelong Chorale, conducted by Allister Cox. St Paul’s Church, August 5, 2018.
Only rarely does it happen, when the stars align, the ducks are in a row, all the hard-work preparation pays off and fortune smiles on a single performance.
That all happened with this concert.
I don’t think that I have ever heard the Geelong Chorale in better voice. What’s more, its choice of material and soloists was perfect, the venue’s acoustics allowed pinpoint clarity – and the audience relished every note, every flourish and every syllable of conductor Allister’s introductory remarks.
This was a concert that grew to become a memorable occasion.
Its music was drawn mostly from the works of 19th Century French composers with Gabriel Fauré’s Requiem the principal work, taking up all of the concert’s second half.
For this, the Chorale had brought in soprano soloist Lisa Breen, whose warm, rounded tones and precise clarity was perfect for the solo piece Pie Jesu; and baritone Tom Healey, who matched Lisa for precision and added elements of power and pathos in his Libera Me.
I don’t think I’ve ever heard Lisa or Tom sing better, either. Their voices jigsawed seamlessly into the flawless elegant rendition that the Chorale was providing.
Add in Frank De Rosso’s masterly accompaniment on the St Paul’s pipe organ – which must, surely be the best in our region – and the combined interpretation could only be described as glorious.
And that was, if you like, only the main course.
We had been prepared for this by a series of appetisers starting with the well-known favourite in Cesar Franck’s Panis Angelicus delivered by the Chorale with al the warmth and flavour you would expect from bread made in heaven. This was followed by six short motets from De Several, Duruflé Saint-Saëns, Villette and Fauré along with a resounding version of Gounod’s Ave Maria featuring soloist Lisa.
The Chorale, for this concert, was smaller than usual and in an unfamiliar formation. Its eleven sopranos were ranged to conductor Allister’s left, with his 13 altos to the right, separated by the central male component of three tenors and seven basses.
Whether it was this configuration, the reduced size, or perhaps the make-up of voices, but this format sounded simply glorious given those perfect acoustics in St Paul’s church.
And such was their appreciation that following the performance, many audience members remained, waiting to congratulate the conductor, soloists, accompanist and individual Chorale members as they trickled in, wearing the satisfied smiles of people who knew they had made a first-class performance of an excellent concert, and all on a day when the god(s) were smiling, too.
— Colin Mockett
In Paradisum – rehearsal video
The Western District Choral Festival, 2018 was hosted by The Geelong Chorale and held at the School of Performing Arts and Creative Education, Geelong Grammar School on June 17, 2018
Find reviews and photos here:
The Choral Grapevine
The venue, titled ‘SPACE’, for ‘School of Performing Arts and Creative Education’, turned out to be a sparkling new theatre complex built inside the environs of Geelong Grammar’s Corio campus.
And it proved to be perfect for this non-competitive gathering of choral groups from Victoria’s Western district.
But that intro, too, was a little misleading, for 12 of the 14 choirs were from Geelong, and rather than a gathering, this presented as a glorious celebration of group singing.
Those 14 choirs brought the width and depth, the textures, colours and diversity of sung music, from folk songs to high opera, jazz to classic pop, in a smoothly-organised procession over two hours with just a ten-minute leg-stretching break.
And in the process, they created an afternoon of musical joy for its fortunate audience.
The show began with event hosts, The Geelong Chorale, displaying its delicacy of tonal excellence with ‘O Radiant Dawn’, followed by a happy rendition of the traditional Christmas ‘Wassail’. It ended with the venue’s hosts, the Choir of Geelong Grammar School making a glorious job of Freddy Mercury’s ‘Bohemian Rhapsody’, followed by an all-on-stage – 400 voices, according to MC John Stubbings – version of Toto’s ‘Africa’. This had everybody in the room singing do-do-do do-do doop doop dooo.. and blessing the rains down in Africa – while hoping the rains in Geelong would hold off to allow them a dry walk back to the car park.
The time in between was filled with fine music and delightful memories. The Colac Chorale brought gentle treatments of folk spirituals with ‘Black is the Colour’, ‘The Water Is Wide’ and ‘Wade In The Water’; followed by Geelong group Wonderous Merry, who continued the wet theme with ‘Soon It’s Gonna Rain’ but negated the concept by singing ‘Dem Dry Bones’ – complete with an illustrative string-puppet skeleton – as their final number.
The Apollo Bay Community Choir was next, presenting a trio of joyfully warm African-styled rhythmic numbers from their Gitika Partington songbook, including one written by the gloriously named Three-Bucket Jones.
Then came the all-female Geelong Harmony Chorus presenting vocals as sparkling as their costumes, along with some neat prestidigitation as they conjured roses while singing about ‘Looking At The World Through Rose Coloured Glasses’.
The Geelong Youth Choir began small, with its six-member Chamber Choir before expanding to 30+ voices to present its witty, clever ‘Painless Opera’ – then expanding further by melding with their adult group, Raise The Bar, to bring a little happy clapping Arabic magic with ‘Sih’r Khalaq’.
Alone, Raise The Bar gave a preview of their forthcoming GPAC play appearance with ‘We’re All Here’, then reunited with the Youth Choir to sing a cheerfully spirited ‘Jabberwocky’.
Geelong’s Jeanette John conducts two choirs, one all-female, the other all-male, and they presented back-to-back. Her Geelong Welsh Ladies Choir opened with a Welsh hymn before moving to the classic show tune ‘Wouldn’t It Be Loverly’, while Jeanette’s men, the International Harvester Choir, started with a spiritual, ‘Cross The Wide Missouri’, before presenting ‘Bring Him Home’ from Les Miserables and finishing with a pop version of Verdi’s chorus of Hebrew Slaves in ‘Speed Your Journey’.
Sing Australia’s Geelong group displayed crisp vocal clarity in their trio of songs that started with ‘Catch A Falling Star’ and finished with a plaintive ‘Take Me Home’. Then followed Vox Box, bringing bright Billy Joel and joyful ‘Java Jive’ before a gentle spiritual ‘Deep River’.
The U3A Geelong Choir kept that gentle flow going with a delightfully sparse version of WB Yeats’ ‘Down By The Sally Gardens’, before lifting the tempo with the Rice-Webber showtime ‘Any Dream Will Do’. This segued neatly to the Geelong College’s Community Choir’s medley of songs from the Four Seasons’ Jersey Boys musical – and this led to the immaculately blue-blazered entry of the Grammar School Choir to sing a spirited ‘Jerusalem’, a gentle ‘Can’t Help Falling In Love’ – then that wonderful ‘Bohemian Rhapsody’ before the all-on-stage finale.
In total, everything came together; the superb venue, the different personalities of choirs and wide variety of their content to create what was simply a wonderful afternoon of joyful song.
– Colin Mockett
Many thanks to Helen Lyth of The Choral Grapevine for her wonderful photos of the event.