News
Keeping you updated with the latest news
 

2020

22 October 2020
Virtual AGM and Return to Sing
14 September 2020
How can I keep from singing?
14 September 2020
Coronavirus Update
7 September 2020
An Angel, a Nun, and a Red Priest
29 August 2020
Choral Alphabet reaches 3000
27 July 2020
Virtual Quiz Time
1 July 2020
Our MD begins with RLSBC
8 June 2020
Howells in Lockdown
9 March 2020
Committee Changes
9 January 2020
New Appointment for our MD
6 January 2020
Choral Evensong in Oxford

2019

3 December 2019
Stephen Cleobury 1948-2019
24 November 2019
Bach, Brahms, Reger - a moving tribute
23 September 2019
Over 300 for Fourth Rutter Day
30 July 2019
Evensong in Westminster Abbey
24 June 2019
Berlioz Requiem : a NBC first
29 May 2019
Evensong in Winchester Cathedral
20 April 2019
On Tour 2019 : The Netherlands
17 February 2019
The Colours of Mozart
25 January 2019
Bach Choir Burns Supper

2018

2017

2016

2015

2014

 

Forty for Gloria in Brum

This evening over forty choir members visited Birmingham’s Symphony Hall to hear the City of Birmingham Symphony Orchestra perform works by Berlioz, Tchaikovsky, Stravinsky, and Poulenc – for whose Gloria the orchestra were joined by members of the CBSO Chorus and the soprano soloist Sophie Bevan.

Poulenc with Berlioz, Tchaikovsky and Stravinsky
 
The CBSO Chorus - ready for Poulenc

The Poulenc is a great favourite of many choir members and we are hopeful that we will get the chance to perform it again soon (we last performed in in 2002); conductor Nicholas Collon kept the pace flowing throughout and ensured that the gaps between each movement were short and sweet. The acoustics in the Hall are so superb that we were able to hear every word of the Poulenc, and the large proportion of men in the choir ensured that there was a superb balance across all four parts.

One Half of the Assembled Choir
 
And the Other Half of the Assembled Choir

For many of our group it was the Tchaikovsky, however, which was a great revelation. Over nearly twenty minutes the brooding atmosphere was full apparent, and as each section moved on it became clear that it was not a work in traditional exposition-development-recapitulation form, but instead a very linear fantasy.