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28 June 2023
A Rousing end to the 2022/23 Season with Viva Italia!
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Cathedral Visits - Summer 2023
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Simon Toyne appointed as our new Musical Director
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Dame Ethel Smyth Mass in D - A resounding success!
13 February 2023
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Christmas 2022 Concert & Fundraising
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New Accompanist Announced
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2022/23 Season : Our Conductors
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2021/22 Season - Done!
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Another (!) Special Evensong
13 June 2022
Jubilee Proms - Staggering Success
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MD steps down after 15 years
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A Special Evensong
2 April 2022
Carmina in Style
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Song for Ukraine
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#22for22 Update
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The Armed Man

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16 December 2021
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714 Days... Back in Concert
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Annual General Meeting
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2021/22 Season Launched
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Expanding the Canon
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Live Singing started ... stopped
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Fridays and the Future
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Virtual Video
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Summer in the Alps
26 March 2021
Fridays at Four - Spring Done
9 March 2021
International Women's Day
22 February 2021
Cooking up a Feast
12 February 2021
Centenary Classics
11 January 2021
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Forty for Gloria in Brum

5 March 2016

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.