Cumbria Singers
2025
The Big Sing Returns!
On Saturday 26th April 2025 at 7.30.p.m in Carlisle Cathedral Cumbria Singers will perform: ‘Five Mystical Songs’ by Vaughan Williams; Bob Chilcott’s ‘Requiem’ and John Rutter’s ‘Gloria’ The programme has been chosen to celebrate Bob Chilcott’s 70th birthday and John Rutter’s 80th birthday. The conductor will be Matthew Owens accompanied by professional musicians and soloists.
Tickets will cost: £28 / £22/ £17 Students £12. Under 12s free
They will be available to purchase from March 2025 (date to be announced) from www.ticket source.co.uk (booking fee applies) , Beckside Books, Penrith; Carlisle Tourist Information Centre (Tel: 01228 598596) and Carlisle Cathedral Gift Shop.
2024
Our most recent concert was in Carlisle Cathedral, on Saturday 20th April 2024 at 7.30.p.m.
Cumbria Singers performed works by Gabriel Fauré (Requiem and Cantique de Jean Racine) and Edward Elgar (The Music Makers) .
The concert was conducted by Andrew Padmore, who had been the 2023-24 Music Director.
The choir was accompanied by the British Sinfonietta and Ed Taylor the organist.
The soloists were Molly Cochrane (Soprano); Gaynor Keeble (Mezzo Soprano); Ben Davies (Baritone).
 |
|---|
| Andrew Padmore Conducting |
 |
| Molly Cochrane (Soprano) |
 |
| Gaynor Keeble Mezzo Soprano |
 |
| Ben Davies (Baritone) |
Review
Juliet Rowcroft, an independent reviewer, wrote:
| ‘Elgar’s The Music Makers, challenging to perform and relatively unfamiliar compared to his best-known works, was a courageous opening choice for the annual concert given by this choir of 100 singers. They definitely rose to the occasion. I for one did not know the work but intriguingly it contains several unmistakeable references to Elgar’s previous works including Enigma Variations and the Dream of Gerontius, so the listener could partake in a game of ‘spot the tune’. Conductor Andrew Padmore achieved a most convincing performance of this complex work which is full of Elgar’s characteristic shifts in tempo, dynamics and key as the music reflects the constantly changing emotions evoked by the words of Ode by poet Arthur O’Shaughnessy. This poem extols the messianic role of creative artists (‘the music makers, the dreamers of dreams’) and acknowledges the artist’s need for courage as the outsider whose vision is not yet recognised. The British Sinfonietta and the Cumbria Singers responded with energy, vibrancy and lyricism as required; so indeed did the splendid guest soloist, mezzo soprano Gaynor Keeble. It was a pity, although perhaps inevitable, that Elgar’s full-blown orchestration meant that her delivery was briefly dominated by the full-volume brass and timpani. Otherwise the rich quality of her powerful voice was perfect for this piece. The chorus brought this monumental work to a most impressive close as the opening lines are repeated even more slowly and quietly finishing with Elgar’s marking pppp. I imagine, for the chorus members at least, the second half of the programme brought a feeling of ‘now we are on familiar ground’ with Fauré’s much-loved setting of the Requiem. Nevertheless, this work’s mainly restrained and contemplative mood brings its own challenges in terms of the breath control needed in held notes and extended melodic lines. This was ably achieved by the choir including the many sections for sopranos or tenors alone. Fauré (like Elgar too) had been a professional organist and it is the organ role, so ably played on this occasion by Edward Taylor, which reminds us that we are, in effect, at a church service and not in a concert hall. The British Sinfonietta continued to delight with some beautiful playing of Fauré’s flowing melodies, notably in the lower string sections and harp , as well as with thrilling chords from the brass section, for example in the Sanctus. Guest baritone Ben Davies sang with lovely tone and achieved perfect balance with the orchestra. The brief role (only four minutes approximately) given to the solo soprano comes in the well-known Pie Jesu. Molly Cochrane’s pure and almost boy chorister-like quality of voice seemed to me quite perfect here. Like the Music Makers the Requiem ends in the quietest way possible, fading ultimately into silence. We were finally offered one more treat, almost an encore, in Fauré’s setting of the prayer known as the Cantique de Jean Racine. This brief gem, by the 19 year old composer, brought a memorable concert to a fitting close. |
Choirs Feedback
The choir were asked to describe their experience of singing in the Cathedral in three words.
Their feedback included:
| Special- challenging- a privilege Exhilarating- enjoyable – uplifting Fabulous- privilege- awesome Awesome-uplifting-enjoyable Thrilling – powerful- amazing Thrilling- overwhelming- loud Momentous- Electrifying- Moving Today was thrilling! |
Audience Feedback
As the following comments show, the audience enjoyed it too: :
| My husband and I very much enjoyed the concert on Saturday night, the pieces chosen were beautiful, and the orchestra, choir and soloists were all excellent. Sarah Whittingham Congratulations on a wonderful Event at the Cathedral on Saturday 20th April! What a superb evening!The Orchestra and Singers combined – just fabulous! Such a powerful, evocative and ethereal experience. Mum and I loved it! A huge well done to you all and congratulations. I hope you were all very proud of your achievements. Liesl McViety |
2023
On Saturday 29th April 2023 the Cumbria Singers’ voices resounded throughout Carlisle Cathedral as they performed Haydn’s Creation, the 225th anniversary of its first performance in 1798. They were accompanied by 38 musicians from the British Sinfonietta orchestra, Ed Taylor as organist and soloists Sarah Power (soprano), Austin Gunn (tenor) and Jamie W. Hall (bass) . The concert was conducted by Andrew Padmore.
 |
|---|
| Cumbria Singers, soloists and orchestra with conductor Andrew Padmore |
Review
Ben Knibbs, Trustee of Carlisle Music Society, was invited to write a review of the concert from the audience perspective. This is what he wrote:
|
I had the great privilege to be present at the Cumbria Singers’ performance of Haydn’s Creation in the superb and most appropriate setting of Carlisle Cathedral. I had never heard these singers before, and didn’t quite know what to expect, but what an amazing experience the whole concert proved to be! From the opening phrases of the orchestral introduction I could tell that the British Sinfonietta, under Andrew Padmore’s enthusiastic lead, was going to do full justice to Haydn’s imaginative orchestration. His tone painting of “Chaos”, although with a certain flavour of dark mystery, wasn’t at all chaotic - with masterful control of their instruments the players produced the loveliest of sounds, a wonderful introduction to the voices. Jamie Hall began as Raphael, and I can honestly say that I’ve never heard a better voice for this part. What riveting words and music that lead us to the quiet entry of choir, everything holding back until that sublime moment when LIGHT flashes forth - a thrilling explosion of sound from voices and orchestra, finishing with triumphant orchestral fanfares! Wonderful. It was then that the singers first showed what they were capable of. Austin Gunn’s very attractive tenor voice then continued the narrative as the angel Uriel, taking us into the first aria that culminated in an exciting chorus. This contrasts “despairing, cursing rage” with the rejoicing melody of “a new created world”. The choir beautifully handled this, with power accuracy and above all, beauty. This was the first of many impressive choruses throughout the work - by turns rousing and exhilarating, or softly expressive. Sarah Power entered as the angel Gabriel, with a clear and very beautiful voice. I should say here that all three soloists were absolutely excellent - clear, powerful and beautiful - they were perfect, and made the concert very special. They were able to bring out the tenderest, most beautiful parts of the arias exquisitely, and Jamie also enhanced the loveliness of the words and ideas with some delightful humour - surely intended by Haydn himself, judging by some playful and colourful descriptive orchestration. I’ll also mention here that I found Andrew Padmore’s pacing excellent - I have sometimes found parts of other performances far too fast, and chorus entries rather abrupt; here everything flowed beautifully, it was full of life, exuberant but never rushed. We continued through several more recitatives and arias, all charming and pleasant, toward the most exciting parts of the work. A rousing tuneful choral song beginning with “Awake the harp”, fabulously rendered by the choir with a superb section in fugue form was the first of these. Then, after an introductory recitative by Uriel’s tenor, came an extraordinary orchestral depiction of the first dawn and the splendorous appearance of the radiant sun - a masterpiece of writing, brilliantly performed. Uriel’s following recitative is also beautifully scored, telling of the sun’s darting rays and tenderly introducing the silver moon. The grand finale of part one is the famous and spectacular “The Heavens are Telling”. The chorus, orchestra and trio of soloists thrilled the audience with this mighty hymn - simply glorious! Part two started with a recitative and lovely aria from Gabriel, and Raphael introduced the exquisite trio ‘Most Beautiful Appear”, and it WAS most beautiful: a lovely prelude to the last great chorus before the interval: “The Lord is Great”. I loved the way the chorus sang, with sustained notes, rising to fff, “forever and for evermore”. The second half began with Haydn’s happy and playful “bringing forth of every living creature”. This is where Jamie (Raphael) and the orchestra brought forth smiles from everyone in the audience - a really outstanding and memorable performance! Uriel’s melodious aria told of the creation of man and woman and introduced our heavenly choir singing, “in song divine, Achievèd is the Glorious Work” with a very beautiful trio from the soloists in its middle. The final part of the work had two gorgeous duets with Jamie as Adam and Sarah as Eve, singing of their bliss. The singers so skilfully accompanied the soloists in these especially beautiful moments of the whole oratorio, set in the rosy mantled morning of paradise. A last recitative from Austin (Uriel) briefly mentions that the happy pair “still might happy be if not misled” but that unhappy note was banished by the final, fabulous chorus. The singers and orchestra, with majestic power filled the cathedral with jubilant sound. The whole audience was obviously delighted and the applause long and loud - BRAVO!!! |
 |
|---|
| In full voice |
A young person’s point of view
Ben’s 11-year-old granddaughter, Imogen, accompanied him to the concert. She asked if she could send us her thoughts. It was the first time she had been inside the Cathedral and she was awestruck by the beauty of the building as well as the music.
| I felt very lucky as I walked into the Cathedral with my grandparents. It was a wonderful setting in which to hear such a piece. I was very pleased that the words were in English as then I could follow along and that made it all the more moving. When the music began it gave us a glimpse of what was in store. The bass began with a deep rich voice which filled the whole room. The soprano had a beautiful voice too. I didn’t know how the chorus sounded but as soon as it did I knew the choruses would be my favourite bits. The choruses were so loud and beautiful and as they sang the last part the voices sounded so full and joyful. There were rounds and rounds of applause. |
 |
|---|
| Soloists |
The choir perspective
Choir members were invited to provide a three-word summary of their experience of the performance. Here are some of them:
|
 |
|---|
| A fabulous experience |
Conductor’s reflections
Andrew Padmore wrote to us on the day after the performance.
|
I enjoyed yesterday enormously. Everything ‘came together’ wonderfully - the chemistry on stage from soloists, orchestra and choir produced that indefinable quality which made the performance so very special for the audience. I think for many people in the Cathedral last night (including myself), that was a very happy and artistically fulfilling occasion which will remain in the memory for a very long time. |
 |
|---|
| An artistically fulfilling occasion |
1950 – 2022
Concerts were performed annually by Cumbria Rural Choirs.
Information about these concerts can be found by following this Link