On Saturday, 20th April, in Cupar Corn Exchange and on Sunday, 21st April, in The Albert Halls, Stirling, the combined power of Cupar Choral Society and Stirling City Choir performed the Verdi Requiem. One of the most famous movements in Verdi’s popular ‘Requiem’ is ‘Dies Irae’ which means ‘day of wrath’. It combines all the forces involved in the Requiem (chorus, solo quartet and orchestra) into one grand set of movements. If this was a day of judgement for the combined forces of Cupar Choral Society and Stirling City Choir, then they passed with flying colours. Even more so for the soloists: Elizabeth Thomson (soprano), Nicola Wemyss (mezzo-soprano), Seamus Begg (tenor) and Phil Gault (bass). This movement alone consists of nine smaller ‘scenes’ akin to grand opera. The solo quartet had ample opportunity to showcase their skills and they didn’t disappoint. It’s a testing range, especially for the soprano with the score relatively low at some parts yet still requiring her to soar above the rest of the quartet, chorus and orchestra in places. Many of the orchestral sections are well-known too – and it was a pleasure to hear the complexity brought together so effectively and clearly under the baton of Michael Segaud. The chorus rose to the occasion with clear diction and excitement. The opening ‘Kyrie’ was a little under pitch but there was some effective pianissimo singing from the choirs throughout and both choir and soloists’ entries were clear and confident. The Domine Jesu for the quartet of soloists has three main sections and embraces both the lyrical and the declamatory. All sections were well balanced and were sung with confidence and with a sense of style. Suitable tempi also helped to convey the sentiment of each of the contrasting sections. The Sanctus with its two choirs was well negotiated with the complex range of parts being confidently sung. The spirited singing of the choirs and well-articulated orchestral playing was helped by a suitable tempo set by the conductor. Throughout the performance the blending of the solo voices and the choirs was a feature and this was indeed evident in the Agnus Dei with all singers weaving lyrical patterns both in unison and in harmony. The last two movements, ‘Lux Aeterna’ and ‘Libera Me’, show the musical contrasts of this magnificent work which has been described as Verdi’s best Opera. The final ‘Libera Me’, with its pianissimo singing and soaring phrases to top C’s in the final sections, was a fitting testimony to the stamina and technique of the singers.

Contributed

Heids and Herts Scotland SCIO put together this lovely film about Cupar Choral and our rehearsal and concert venue, St. John's Church Hall in Cupar. Click on the link below to watch the video. 

My Village Hall - Cupar Choral Society

Blurb by Heids and Herts Scotland SCIO

In Spring 2022, we set out to make some short films about Creative Spaces and people doing creative things across the Howe of Fife. Over one weekend, we set out to present a wee thumbnail of life and opportunities for social connection in and around the village halls in our little part of the Kingdom of Fife. Alarmingly many of the spaces where people traditionally got together have disappeared - the humble village hall is often the last remaining asset that many communities have to nurture connections. Loneliness affects almost a quarter of the UK population. Around one in five (22%) adults across the UK, which means over 15000 adults wrestling with feeling lonely always, often, or some of the time across our North East Fife communities. Cupar Choral Society has a long history and can trace its origins back to March 1865 - the same month that the American Civil War ended. Cupar Choral is always happy to welcome new members. There is no audition, and while the ability to read music is desirable, it is not obligatory. More information about this wonderfully welcoming group of people is available from the Society website on www.cuparchoral.org.uk The ‘My Village Hall’ project is supported by the Rural Communities Ideas into Action fund, supported by the Scottish Government and delivered by Inspiring Scotland to encourage and support innovative approaches to community-led local development in rural communities across Scotland. Huge Thanks to our Production team; Mark Turner - for Producing, Directing and Editing Roberta Maclean and Ina Morken for their energy and expertise on location with Camara, Lenses and Sound and lots of batteries, wires and memory cards. Ricky Evans - for additional Drone Footage Lesley Porteous for Voiceover + Jaime Vazquez Ponte for backup. Robbie Ward - Original Music Performance at Letham Thank you also to all our community participants who agreed to be interviewed and organised access to Village Halls, props and extras, and volunteers and then rearranged all their schedules after the original filming dates were cancelled because of Covid. More Information on Robbie Maclean https://www.2021.graduateshow.eca.ed.... Ina Morken https://www.inamorken.com

Looking back, looking forward

Some organisations were worried that they could not weather the storm that was the Covid pandemic – but Cupar Choral Society have clearly bounced back from what were uncertain times with this year’s performance bettering even that of last year.

The performance of both Haydn’s ‘Nelson’ Mass and Mozart’s Requiem on 22nd April looked back and forward.

The male soloists, Peter Thomson and Jamie MacDougall are good friends yet hadn’t sung together for over 30 years, Peter is a former soloist of Cupar Choral from over 30 years ago and Elizabeth Thomson is his daughter. Joined by Nicola Wemyss, they made a balanced and blended quartet.

Haydn’s ‘Nelson’ Mass, named in honour of the sea-faring celebrity is a complex and challenging work for amateur choral societies. From the start, the excitement generated by the choir was evident with soprano Elizabeth Thomson soaring to the top notes with ease. Most of the solo parts are for the soprano and it became evident from the start what a talent this young soprano is.

As is common with most choirs nowadays, there are more women than men, yet despite this the balance in the choir was mainly good and the men played their part in projecting their voices clearly, especially in the pointing of many of the fugal passages.

The conductor, Michael Segaud held his calm as there were the few precarious moments- no mean feat in this work and the choir was well-rehearsed. By all accounts he is a likeable and popular conductor which should bring new people into the choir and keep it looking forward.

It wasn’t till the Agnus Dei that we heard a longer solo from the mezzo-soprano Nicola Wemyss; she too making clear that the future of choral singing lies in safe hands.

After a short break the Mozart Requiem started with a beautifully blended solo section between bassoon and clarinet. The acoustics of the Corn Exchange are good – not too resonant but still allowing for detail to be heard from each of the sections of the professional players accompanying the choir. The basses came into their own in the Dies Irae before the trombone solo setting the scene for the bass solo in the Tuba Mirum. This well-known bass solo requires lungs of steel as the opening phrases set the scene.

The tempi throughout both works were well set; crisp enough to keep the music tidy, but elegant enough for the phrasing to sing. A beautiful moment occurred in the ‘Confutatis Maledictus’ with some lovely colour and floated notes from the sopranos of the choir. The solo quartet blended through the ‘Benedictus’ and their fun and enjoyment was evident.

Perhaps the most touching point of the night was the spontaneous standing ovation as the soloists came back on after their initial bow. Starting at the front, it quickly spread to others in the large audience – well done to Cupar Choral. Long may you keep singing.

Cupar Choral Society, arguably Fife’s oldest, established in 1865, is to hold its spring concert in Cupar Corn Exchange on Saturday, 22nd April. For the performances of Mozart’s Requiem and Haydn’s Nelson Mass, “the Choral” has recruited a superb line-up of soloists with some “firsts”. Mozart’s Requiem is a powerful work and anyone who has seen the film “Amadeus” will recognize several of the movements. The Nelson Mass constantly ranks highly with choirs and audiences amongst their favourite choral works. Listeners to the BBC Radio Scotland programme “Classics Unwrapped” will instantly recognize its presenter, Jamie MacDougall, himself an accomplished worldwide concert and operatic performer, who is filling the tenor spot, a first for the Choral. Jamie has regularly presented on BBC Radio 3 and in 2017 was the Artist in Residence at the St Andrews Voices Festival. He will also be known to many as a presenter of, and performer with, the Royal Scottish National Orchestra. The local theme continues with mezzo-soprano Nicola Wemyss as alto soloist making her second appearance with The Choral. Nicola, who hails from Strathkinness, began her solo career by winning the first Chimay International Competition for Baroque Singing and has broadened her repertoire into oratorio, concert and opera, performing both at home and abroad. She has also recorded several discs for a variety of recording labels.  Another first is the appearance together of Elizabeth Thomson, soprano, and Peter Thomson, bass, her father. Following completion of a degree course at the Royal Northern College of Music, Elizabeth graduated with Distinction in her Masters Degree from the Guildhall School of Music and Drama. An outstanding vocal talent, Elizabeth has already performed with many choral societies and in operatic roles at the likes of The Barbican Centre and the Queen Elizabeth Hall in London with, amongst others, the London Philharmonic Orchestra. Her father, Peter Thomson, is the recently-retired Head of the Music Faculty and Director of Music at St George’s School in Edinburgh, now resident in Freuchie. Peter, like Jamie MacDougall, is a graduate of the Royal Scottish Academy of Music and Drama (now the Royal Conservatoire of Scotland) and has sung major operatic roles for Scottish Opera and in the likes of The Royal Opera House, Covent Garden and Alberta, Canada. He has performed extensively for choral societies throughout Scotland, including Cupar, and taught singing at the Conservatoire. He continues his musical input teaching singing and piano and as conductor of the Markinch and District Community Choir. The Choral continues under the leadership of its Musical Director, Michael Segaud, who has been an inspiration, keeping the choir together through the pandemic and now back to the Corn Exchange for its first major concert. The Choral still has members who performed with it for the first time forty four years ago singing the Nelson Mass, so this concert also has considerable nostalgia. Tickets may be bought from members or at the door. They are £15; £5 for students; £2 for unwaged and accompanied children under 16 are free. The concert starts at 7.30 pm.