Recent Concerts

December 2021 Christmas Concert Excerpts from the Messiah, carols and choral classics.

December 2019 Christmas Concert Chilcott’s “Twelve days of Christmas” and “Behold that Star” and Vaughn Williams “The First Nowell”

22 June 2019    Summer Concert ‘An Evening with Henry Purcell’. Purcell – Dido and Aeneas; three anthems (Thou knowest Lord the secrets of our hearts; Remember not Lord our offences; I was glad) and O Sing unto the Lord.

Christmas Concert 2018: Blessed be that Babe. Handel’s Messiah [part 1], Telemann’s German Magnificat.

Summer concert 2018: Rossini’s Petite Messe Solennelle 

Christmas Concert 2017:  Bach’s Orchestral Suite No 4 in D Major, and Bach’s Christmas Oratorio

Summer Concert 2017:  Mozart’s Requiem and Haydn’s Maria Theresa Mass

Christmas Concert 2016:  Vivaldi’s Gloria, Faure’s Cantique de Jean Racine, ‘The Shepherds’ Farewell’ from Berlioz’ ‘L’Enfance du Christ‘, Franck’s Panis angelicus and carols (some with audience participation)

Summer Concert 2016:  Bach’s St John Passion

Christmas Concert 2015:  Handel’s Messiah

Summer Concert 2015:  Brahms’ Requiem

Reviews of some recent concerts

Christmas Concert 18th December 2021 Excerpts from the Messiah, carols and choral classics.

It was with great joy and relief that we performed our Christmas concert planned for 18th December. It was the first time in 2 years that we had performed in public, due to Covid restrictions, and we were all crossing our fingers as to whether we would be allowed to sing. 

After Rev. Nigel Tuffnell and Stella, our Chair had welcomed everyone to the concert we very nervously stood to start singing. However, with Karen, our Director smiling at us from the keyboard we soon started to enjoy the atmosphere and experience of singing again to a very appreciative audience.

The Chamber Ensemble were marvellously supportive and Laura, our soloist sang exquisitely. One could have heard a pin drop when she was singing and the acoustics helped everyone to give of their best.

Everyone went home happy and ready for the Christmas season and we even received an email the following day from Rev. Nigel expressing his pride and thanks for our concert. He even stayed till the end – a compliment indeed!

Stella Brownsea, Chair of HCS

Christmas Concert 2018: Handel’s Messiah [part 1] 

Christmas Concert Harleston Choral Society Review by Basil Abbott appeared in the Diss Express.
There is enough of biblical prophecy and the nativity in Part 1 of Handel’s Messiah to provide Advent fare.  With carols, one especially written, and Teleman’s German Magnificat, this was an ideal pre-Christmas concert. Director Janette Ruocco has a sense of history, heard in her own carol Blessed Be That Maid. You felt that it must have been found in some 15th-century manuscript. Under her direction, you could detect similar undercurrents when the Dargason Ensemble played the timeless opening of Messiah. And again in the touching Pastorale, with oboes and continuo (Alec Harmon, Chloe Peterson and Karen Smith) skimming the centuries. Pick of the soloists was Mitesh Khatri, a velvet yet declamatory tenor. Gary Griffiths had the sternness of a bass and the subtlety of a baritone. Soprano Beverley Lockyer was like Spring in December, and contralto Christine Petch sure and sincere. The choir sang the prophecies with a light and tripping enthusiasm and relish. After the carols, with the audience, the wall seemed to come down even more. So the Magnificat was sung with a cheerful abandon.

Basil Abbott, Diss Express

Christmas Concert 2016

Performed on Saturday 10 December 2016

Vivaldi’s Gloria, Faure’s Cantique de Jean Racine, ‘The Shepherds’ Farewell’ from Berlioz’ ‘L’Enfance du Christ‘, Franck’s Panis angelicus and carols (some with audience participation). St John’s Church, Harleston.

Bach’s St John Passion

Performed on 18 June 2016

Bach’s work of small-bite recitatives needs an adroit juxtaposition of conductor, choir, soloists and orchestra.
Under Christopher Bracewell’s direction you knew this would succeed as the opening chorus met the surge of the orchestra.
Waves of ecstatic sound, whether measured, lively, meditative, declamatory, contrite or hymn-like filled St. John’s Church.
Tenor Michael Hart-Davies’ crystal clarity of delivery proved ideal for telling the crucifixion story and for the more expressive Airs.
Sri Lankan born, and now British citizen, Dhilan Gnanadurai, again brought his darkly passionate bass voice to the dramas of Calvary.
Contralto Catherine Denley’s singing had a loving quality, if a little underpowered; and there were some soaring-rafter moments from Soprano Siona Stockel.

Mature and mellow, the orchestra, led by Miles Golding, was a bedrock of excellence. Special mentions for the oboe, cor anglais and bassoon playing of Emma Penfold, Kim Haan and Mark Sharp.

Basil Abbott

Handel’s Messiah

Featured in the Diss Express on Sunday 20 December 2015

Reassurance and praise were the keynotes of this concert conducted by Christopher Bracewell.

Well-known choruses like And the Glory of the Lord and For Unto Us A Child is Born came across like warm, benign breezes.

The soloists were top drawer. Vernon Kirk had a particularly agile tenor voice. Dhilan Guanadurai combined an unassuming style with a molasses-rich voice.

Contralto Daniela Thomas, with Vogue looks, elegance and a winning smile, won the audience with Behold a Virgin Shall Conceive.

Soprano Lynda Russell also showed an ardent, urgent vitality in singing of angels and shepherds.

The orchestra, led by Miles Golding, played with great assurance and achieved a placid profundity in the Pastoral.

The Hallelujah Chorus had an exhilaration and sense of occasion that must have made it as memorable for the choir as the audience.

Handel’s great oratorio gave as much pleasure as ever since its Dublin charity premiere in 1742.

Basil Abbot

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Brahms’ Requiem and Vivaldi’s Nulla in mundo pax sincera

20 June 2015

Siona Stockel – Soprano,
Callum Thorpe – Bass

The German Requiem has a poised, one foot in the afterlife air, with all its hopes and fears.

Under Christopher Bracewell’s direction, the orchestra created the sombre opening, which was allayed by the ‘green shoots’ singing of the choir.

In the solemnities of All Flesh Is Grass the singers achieved some spine-tingling moments.

The dramatic, penetrative bass-baritone voice of Callum Thorpe and the cadenza and fugue of the chorus and orchestra gave a rumbustious flourish to end the first half.

The choir then gave a rolling energy to How Lovely Are Thy Dwellings.

Siona Stockel had opened the concert with a Vivaldi motet and a voice like a dextrous silver sword.

Now she touchingly sang the movement inspired by the death of Brahms’ mother.

By the end, with the final notes of the heavenly harp, death just seemed like a serene slipping away.

Basil Abbott, Diss Express

Haydn – “The Creation”

21 June 2014

Siona Stockel – Soprano, Michael 
Hart-Davis – Tenor
Callum Thorpe – Bass
Orchestra Leader – Miles Golding

Mendelssohn – “Elijah”

29 June 2013

Linda Perillo – Soprano, Laura Trayhurn – Contralto
Michael Hart-Davis – Tenor, Maciek O’Shea, Baritone
Orchestra Leader – Margot Rumanis

Handel – “Zadok the Priest” , Vivaldi – “Gloria”, Vaughan Williams – “The Old Hundreth Psalm Tune, and Mozart “Coronation Mass”

16 June 2012

Julia Golding – Soprano, Joanna Gamble – Contralto
Michael Hart-Davis – Tenor, Callum Thorpe – Bass
Orchestra Leader – Miles Golding