CROSSKEYS COLLEGE CHORAL SOCIETY (1981 – 2010)
COLEG GWENT CHORALE (2010 – 2018)
GWENT CHORALE (2018 – present)
The original choir was founded in January 1981, when Martin Hodson (MBE) took up his position as head of music at Crosskeys College, (as it was then). The new role came at an important time for Martin, as he had also been appointed Music Director of Risca Male Choir, less than two years previously. A college choir was already in place at Crosskeys, comprising students and staff. But Martin’s vision was to expand this into a college - community group basing its repertoire on oratorio and the great choral works of the past.
Aptly, as the opening performance, he chose Haydn’s oratorio, The Creation. From the outset the intention was also to use orchestral accompaniment and professional soloists where appropriate. The orchestra in 1981 was made up of students, peripatetic staff and other amateur and professional players. Choir rehearsals for College students and staff were held during lunchtimes, with the community choristers practising on Wednesday evenings. It took just 5 months to bring the piece to performance standard.
The three soloists were local soprano, Jennifer Rhys Davies; bass, John King (both Welsh National Opera members); and Welsh tenor, Huw Priday. The concert took place in the college hall on Friday, May 15, 1981. There were 44 choristers: 11 college staff, 7 students and 26 members of the community. 14 students made up part of the orchestra.
Not surprisingly, the next work to be presented by Crosskeys College Choral Society was Handel’s Messiah, planned for performance before Christmas the same year, 1981. Unfortunately, snow intervened and the event had to be postponed until early in 1982. Jennifer Rhys Davies and John King appeared again and were joined by two more soloists from Welsh National Opera: contralto, Anne Morgan and tenor, John Harris.
Many more oratorios were to follow: Handel’s Samson and Judas Maccabeus; three further presentations of The Creation; Mendelssohn’s St Paul, and two particularly splendid performances of Elijah.
Up until 1984, our usual performance venue was the concert hall at Crosskeys College. But for the first Elijah, choir and orchestra relocated to Risca Leisure Centre, which was to be the home of the choir for most of our annual concerts over many following years.
In 1994, a professional orchestra was used for the first time: the Welsh Sinfonia, led by Robin Stowell. In several guises, it has been our orchestra of choice from that time on. By now the choir had grown to more than 100 voices. The work chosen for this occasion was Rossini’s Stabat Mater, together with the overture to Der Freischűtz (Weber) and R Vaughan Williams’s Toward the Unknown Region. Among the soloists was star tenor, Bonaventura Bottone.
In 1986, the choir decided to tackle Verdi’s opera Nabucco, in a concert performance. Well known for its choruses, it was a work that suited the choir, and indeed was to be repeated nearly 20 years later to celebrate Martin Hodson’s 60thbirthday. On this first occasion, the solo voices were mostly members of Welsh National Opera. Indeed, the cast could well have performed the work on stage in Cardiff. We used the English translation that had been made by Tom Hammond for the Welsh National Opera in 1952.
It was in 2005 that Nabucco was repeated, to impressive effect. The cast comprised past students of Maestro Hodson, with our own choral forces supplemented by Risca Male Choir. Tickets had been so much in demand that the balcony at Risca Leisure Centre had to be brought into use to accommodate additional audience seating.
Verdi had featured previously when it was decided to perform his Requiem to celebrate the new millennium. Being acutely aware that such works attract large audiences, Martin persuaded the local authority to build an extra double door in the wall of the sports hall to allow 150 more seats, in accordance with fire regulations! This was another occasion when the Choral Society was augmented by some members of Risca Male Choir. Singers from other local choirs wanting to perform this great work also joined our ranks. The quartet of soloists was particularly remarkable: Risca-born soprano, Julie Kennard; Michael George, bass (and husband of Julie); the Yorkshire tenor, John Hudson, who had sung in the 1996 Elijah; and the Welsh mezzo, Leah-Marian Jones, who had appeared in Rossini’s Petite Messe Solennelle in 1992.
Julie and Mike had also sung in that Rossini concert and were to return in 2004 for a unique Messiah. Many of our choristers had wanted another chance to sing Handel’s much-loved oratorio, and had frequently asked for it to be sung again. After the first time we had performed it back in 1982, Crosskeys College Choral Society had given two more presentations of the work, in the form of Messiah for All. Both were with organ accompaniment (the marvellous Risca musician, Jonathan Watts) in Trinity Church, Risca. The soloists on these occasions were college students, members of the choir and amateur singers, one of whom was a young Jason Howard, (Jason Jones as he was then), in his final year at Trinity College of Music, London.
Martin Hodson realised that it was a work not ideally suited to a large choir of more than 100 voices. So in preparing the 2004 performance, he used an edition produced by famous English conductor and composer, Sir Eugene Goossens. It had been commissioned by Sir Thomas Beecham to celebrate the 200th anniversary of Handel’s death. Beecham’s idea was to rescore Messiah for a large modern symphony orchestra which would include all the woodwind and brass instruments, a battery of percussion, and a harp replacing the usual harpsichord. Beecham, himself a famous conductor, made a recording of this version in 1959. Since then, the Goossens setting has rarely been heard, and Crosskeys’ performance was certainly the first in Wales.
Alongside Julie Kennard and Michael George, the alto soloist was Susan Gorton (Elijah soloist of 1996) and the tenor, a young heldentenor, Andrew Sritheran. Martin had wanted this kind of voice to match that of Canadian heroic tenor, Jon Vickers, used in the Beecham recording.
Needless to say, it was a huge success and played to a capacity Risca Leisure Centre.
Apart from the annual concert, Crosskeys College Choral Society also performed a regular Christmas celebration, Carols for All. It was a popular programme with traditional carols, and readings. Mostly, these evenings took place in the large space and generous acoustic of Moriah Church, Risca. In general, the choir was supported at these events by a student brass ensemble directed by music lecturer, David Price. Since the end of the pandemic, the choir has presented Celebrating Christmas, again with traditional carols and readings, but adapting the format to the smaller setting of Danygraig Church. We have also participated in Christmas celebrations at Tredegar House, Newport. In addition there has been a performance of Stainer’s Crucifixion and a concert presentation of The Pirates of Penzance.
For all those additional concerts and other appearances, Meryl Gittins has been at the keyboard, demonstrating exceptional skill as both pianist and organist. She joined the choir in 1993 and since then has accompanied rehearsals, where she is called upon to play the most difficult of musical scores. Gwent Chorale is most appreciative of her invaluable contribution and continuing dedication to the choir.
A full list of annual concerts from 1981 to 2024 can be found at the end of this history.
To end Martin Hodson’s tenure as Music Director of the choir he had founded in 1981, and to celebrate the 40thanniversary of Risca Male Choir, a second performance of the Verdi Requiem was planned for 2010. The combined choral forces made a total of 170 voices: 33 Sopranos, 42 Altos, 45 Tenors, 50 Bass. The soloists were Risca soprano, Laura Parfitt; mezzo, Joanne Thomas; tenor, John Hudson; and bass, Jason Howard – who, in the 25 years since he first appeared with us, had built an international career. Laura and Jason had been former singing students of Maestro Hodson.
It was a most fitting finale to a splendid 29 years at the helm of Crosskeys College Choral Society, and at the end of the performance, Martin handed the baton over to Paul Cook, who was to be the next Music Director of the choir, now to be called Coleg Gwent Chorale.
By this time, Crosskeys Campus had a new building with a large sports hall that offered a new performing space, and apart from one occasion, this has been our Annual Concert venue ever since.
Under Paul’s direction we have explored a wonderful variety of music, including a return to Haydn’s The Creation, a work that has featured four times since the choir’s inception. Another staple of the repertoire that has appeared several times is the Fauré Requiem, which Paul directed in 2023.
In 2013, Paul Cook conducted a magnificent performance of a piece that most of the choir had not experienced previously, either as listener or singer: Dvořák’s Stabat Mater. The process of learning it was one of our most difficult challenges, but the rewards were great, and the performance will stand amongst the finest in the history of the choir.
A number of our concerts included a mixture of works, sometimes with the link of a musical period (Classical Vienna) or a genre (British Choral Music); or simply offered a miscellany. There was also a third performance of Rossini’s Petite Messe Solennelle.
For this event all was ready on the day of the concert: a wonderful harmonium had arrived from York, and the campus Steinway piano was on top form. Our accompanists were Jonathan Watts, and Welsh National Opera répetiteur, the brilliant David Doidge. A couple of days earlier, our tenor, Welsh singer, Richard Allen, had a throat infection and was voiceless. At literally a day’s notice his place was taken by an outstanding young student from the Royal Welsh College of Music and Drama, Timothy Coleman, who virtually sight read the music brilliantly. Then, unbelievably, Paul fell and was in hospital with concussion!! Martin was looking forward to singing, but having conducted the work on the two previous occasions, and having relearned it under Paul’s direction, he was able to step into the breach and conduct. The show did go on, but it was very close to not happening at all!
In autumn 2017, as we were preparing to start rehearsals for 2018’s Rossini, we lost our Crosskeys rehearsal space. We were fortunate, however, to find a convenient alternative in the comfortable space that is Danygraig Church, Risca. This remains our headquarters today.
The new situation suggested that we should lose the direct link with the college in our name and so, with a third identity, now simply Gwent Chorale, we stride on.
As with all choirs, other arts organisations and all aspects of normal life, the lockdowns during the pandemic hit hard. Some choirs suffered more than others; some never recovered! We made a gradual return at the end of 2021, having to wear masks to sing! Paul was unable to return at that time, and we found an enthusiastic deputy in Timothy Coleman, who had helped us out with our performance of the Petite Messe Solennelle. He gradually worked our voices back into shape, and we decided that we should prepare for a post-pandemic concert with Vivaldi’s Gloria. In 2022, Paul returned and in July that year, with a small orchestra, organ and two young soloists, we gave two performances of the work in the friendly acoustic of Danygraig.
After much negotiation with Coleg Gwent, the Crosskeys Campus Sports Hall became available to us again and we returned there in 2023 for our third presentation of Fauré’s Requiem. Interestingly, on all three occasions, Eisteddfod Blue Riband winner, and former Crosskeys College student, Andrew Jenkins, was the baritone soloist.
We are proud of our achievements over the years since 1981, and feel we have adapted to the ever-changing makeup and style of the choir. But mainly, however many choristers we have, and whatever we choose to learn and perform, we know why we sing: we sing because we absolutely enjoy using our voices, the challenge of learning the music, and the pleasure of performing.
If you have an interest in classical music and are not afraid to use your voice, you would enjoy joining us each week.
Gwent Chorale meets each Wednesday at 6:45 in Danygraig Church, Risca, from September to July.
Please contact Nicola Price 07974 111712 for more information, or just come along to a rehearsal and see what it’s like.
Choir performances since 1981
Crosskeys College Choral Society
Music Director: Martin Hodson (MBE)
1981 The Creation (Haydn)
Jennifer Rhys Davies, Huw Priday, John King
1982 Messiah (Handel)
Jennifer Rhys Davies, Anne Morgan, John Harris, John King
1983 Christmas Oratorio Part 1 (Bach)
Gloria (Vivaldi)
Student soloists
1984 Elijah (Mendelssohn)
Jennifer Rhys Davies, Helen Willis, John Harris, Henry Newman
1985 Magnificat (Bach)
Chandos Anthem (Handel)
Student soloists
1986 Nabucco (Verdi)
Maria Moll, Terence Sharpe, Sean Rea, Jason Howard (High Priest)
Messiah for All
1987 Concert of Sacred Music
Messiah for All
1988 Samson (Handel)
Pamela Field, HuwPriday
1989 Hiawatha’s Wedding Feast (Coleridge-Taylor)
Messa di Gloria (Puccini)
Michael Thompson, David Porter
1990 The Creation (Haydn) Organ accompaniment: Jonathan Watts
Stephanie Benavente, Peter Reynolds, Ashley Thorburn
1991 Requiem (Mozart)
Pamela Field, Lisa Morgan, Stephen Rooke, David Porter
1992 Petite Messe Solennelle (Rossini)
Julie Kennard, Leah-Marian Jones, Stephen Rooke, Michael George
1993 Requiem (Fauré)
Kim Tilley, Andrew Jenkins (former students)
1994 Stabat Mater (Rossini)
Gail Pearson, Buddug-Verona James,
Bonaventura Bottone, Stephen Richardson
1995 Judas Maccabeus (Handel)
Ros Evans, Lisa Morgan, Jeremy Ovenden, Ashley Thorburn
1996 Elijah (Mendelssohn)
Patricia O’Neill, Susan Gorton, John Hudson, Jason Howard
1997 Requiem and Coronation Mass (Mozart)
Jill Padfield, Joanne Thomas, Robert Bourton, Tim Rhys-Evans
1998 British Choral Music
Including new commission Seascapes (Soloist: Anne Collins) by Richard Roderick Jones.
English songs sung by Stephen Rooke
1999 Petite Messe Solennelle (Rossini)
Fiona Bryant, Joanne Thomas,
David Watkin-Holmes, Matthew Hargreaves
2000 Requiem (Verdi)
Julie Kennard, Leah-Marian Jones, John Hudson, Michael George
2001 The Creation (Haydn) 20th Anniversary Performance
Jill Padfield, Stephen Rooke, James Rutherford
2002 Mass in C, Choral Fantasy, Coriolan Overture (Beethoven)
Stabat Mater (Schubert) Christopher Knott (piano)
Laura Parfitt, Anne Braley, Mark Cunningham, Guy Harbottle
2003 St Paul (Mendelssohn)
Laura Parfitt, Anne Braley, Paul Badley, Guy Harbottle
2004 Messiah (Handel, orch. Eugene Goossens) Welsh première
Julie Kennard, Susan Gorton, Andrew Sritheran, Michael George
2005 Nabucco (Verdi)
Jason Howard, Laura Parfitt, Jill Harris, Anne Collins,
Stephen Rooke, Ian Power, Andrew Jenkins
2006 Dido and Aeneas (Purcell) Gloria (Vivaldi)
25th Anniversary Performance
Anne Braley, Fiona Bryant, Linda Cleak, Anne Collins, Emma Hughes, Andrew Jenkins, Jill Padfield
2007 Puccini & Pals: Messa di Gloria, operatic items from La bohème, Manon Lescaut, Turandot, I Pagliacci(Leoncavallo), Cavalleria Rusticana (Mascagni)
Jason Howard, John Hudson
2008 Fauré and the French Connection: Requiem, Cantique de Jean Racine, Pavane; operatic items from Carmen (Bizet), Faust (Gounod), Samson et Dalila (Saint-Saëns)
Joanne Thomas, Emma Hughes, Andrew Jenkins
2009 Stabat Mater (Rossini), Prayer from Moses,
Thieving Magpie Overture
Laura Parfitt, Joanne Thomas,
Noel Hernandez, Robert Winslade Anderson
2010 Requiem (Verdi)
Laura Parfitt, Joanne Thomas, John Hudson, Jason Howard
2011 Coleg Gwent Chorale
Music Director: Paul Cook
Hope and Glory – a concert of British music
Holst, A Somerset Rhapsody.
John Rutter, I will sing with the spirit
R Vaughan Williams, Five Mystical Songs.
John Rutter, Requiem
Jill Padfield, Dyfed Wyn Evans
2012 Classical Vienna
Mozart, Overtures: The Magic Flute, Don Giovanni,
Operatic vocal excerpts: Soave sia il vento,
Un’ aura amorosa,
Mozart, Ave verum corpus; Schubert, Stabat Mater, Sanctus;
Haydn, Nelson Mass
Emma Hughes, Joannne Thomas, Peter Van Hulle, Dyfed Wyn Evans
2013 Stabat Mater (Dvořák)
Laura Parfitt, Joanne Thomas, Mark Cunningham, Michael George
2014 Magnificat in D (Bach)
Requiem (Mozart)
Jill Padfield, Joanne Thomas, Richard Allen, Dyfed Wyn Evans
2015 The Creation (Haydn)
Jill Padfield, Richard Allen, Dyfed Wyn Evans
2016 Missa Sancte Joannes de Deo (Little Organ Mass) Hob xxii (Haydn)
Rhianwen Hallows – Soprano
Exsultate Jubilate K.125
Jill Padfield
Peter Warlock: Capriol Suite
Strings of the Concert Orchestra De Cymru
Missa Brevis in Bb K.275
Mia-Jae Lewis, Fiona Bryant, Henley Cegielski, Andrew Jenkins
2017 Mass in C (Beethoven)
Quartet from Fidelio, Overture: Coriolanus,
Mozart Idomeneo Choruses
Jill Padfield, Joanne Thomas, Gareth Dafydd Morris, Dyfed Wyn Evans
2018 Gwent Chorale
Petite Messe Solennelle (Rossini)
Jill Padfield, Joanne Thomas, Timothy Coleman, Dyfed Wyn Evans
2019 A Night at the Opera
Extracts from operas including: Nabucco, Il trovatore, La traviata, Rigoletto, Aida, Macbeth, Carmen, The Pearl Fishers, The Magic Flute, The Barber of Seville,
Dido & Aeneas, Peter Grimes.
Jill Padfield, Joanne Thomas, Richard Allen, Dyfed Wyn Evans, St Alban’s RC High School Choir
2022 Gloria (Vivaldi)
Darcey George, Rhianwen Hallows
2023 Requiem, Cantique de Jean Racine (Fauré)
Andrew Jenkins, Rhianwen Hallows
2024 Paukenmesse – Mass in Time of War (Haydn)
Jill Padfield, Joanne Thomas, Robert Bourton, Andrew Jenkins