Members

Upcoming rehearsals

St Andrew’s Church Psalter Lane Sheffield. Scroll down to About SPC rehearsals for how to get there, parking etc.

Recordings and practice tracks at Members Area / Rehearsals / Preparing the Music

Pre-rehearsal workshop at 6.30 in the room behind the altar – through the doors at the front of church, forwards along the corridor to the room at the end. Contact Georgina Hulse if interested. Summer workshops: 6, 13, 20, 27 May

All members are welcome to congregate in The Stag after rehearsal, only a short walk from St Andrew’s. New members are particularly welcome so come along for a drink and a good natter.

Many thanks for your consideration regarding mobile ‘phone interruptions and distractions. Please nudge the person next to you if they get out their mobile during the rehearsal; it’s okay in emergencies of course but please leave the room.

Please note that the fine for non-return of music SPC has hired will be charged to those members whose music has not been returned, even if the member concerned passed their copy to a colleague to return in their absence. Sorry about this but non-returns continue to be an issue.

2024-25 – No rehearsal on 22 April due to the Easter holidays. Click here to access the Rehearsal Schedule 

About SPC Rehearsals

Rehearsals are on Tuesday evenings from 7 to 9pm, from September through to July, at St Andrew’s Church, Psalter lane, Sheffield.

• For buses to St Andrew’s, see https://www.travelsouthyorkshire.com/.
• Car parking spaces available by arrangement with Jim Monach only
• Street parking for everyone else. Take bikes into the foyer.
• Toilets at front of church, through doors on either side, follow signs. Accessible toilet in the foyer.
• See map of the area at on the website, Members Area, Rehearsals

Rehearsal notes, rehearsal tracks, YouTube recordings and advice about preparing at home are at Preparing the Music. 

Advice about looking after your voice is at  Preparing Your Voice.

Access by car – there is no car parking on site; however there is plenty of street parking. Those with mobility issues can apply for a space in the small car park by arrangement with Jim Monach.

Access by Bus –  see https://www.travelsouthyorkshire.com/.

Emergency Evacuation – On hearing the fire alarm, vacate the building via the nearest exit.  Assemble in the street but away from the building. If you discover a fire, press the nearest alarm.

Attendance requirement

Please note that, in order to uphold the very highest standards, Darius would prefer each member to commit to each one of our official concerts  in any given season, wherever possible. The training provided each week is cumulative and designed to help the choir continuously improve the standard of singing, irrespective of the upcoming concert and the work to be performed. He can teach the choir particular points of singing technique just once, knowing that we will be able to bring them into play in future performances of other works where necessary. He therefore expects members to do their very best to attend every rehearsal, even if they are unable to sing in a particular concert.  He prefers those unable to sing in a concert NOT to attend the compulsory piano/conductor’s rehearsal so that he and/or the visiting conductor can hear what the Chorus will sound like on the day.

Committing to each concert is a good way of supporting colleagues so that there’s always a full complement of singers, especially for less well-known or more challenging works, rather than relying on a core group of singers.

However, illness and family or work life do sometimes get in the way, so people who can’t attend every rehearsal are not prevented from singing in concerts. However, we do need to maintain standards, and those who have missed around a quarter of rehearsals will not be able to sing in the concert – and they MUST attend the conductor’s piano rehearsal (usually held on the Tuesday before the concert) and the final (orchestral) rehearsal (usually held on the day of the concert).

Members should ideally keep an eye on their own attendance to ensure they qualify to sing, but if you are not sure whether you have attended enough rehearsals please contact your Voice Rep (addresses below). Your Voice Rep should in any case contact you if your attendance is dropping significantly.

There is no need to send apologies if you have to miss a rehearsal; non-attendance will be taken as an apology. However please tell your Voice Rep if you are unable to attend a particular concert. But, as noted above, you are still encouraged to continue to attend all rehearsals except the final conductor’s rehearsal – and as stated above, it is hoped that most members will commit to all the concerts in any given season, and to all the relevant rehearsals.

By the time the compulsory conductor’s piano rehearsal comes round, we are expected to have mastered the works so that the conductor can concentrate on interpretation. This requires members to:

• mark their copies with all instructions that the Music Director has provided over the rehearsal period
• do a certain amount of rehearsing at home; you will find information and advice, including links to rehearsal tracks, on our Preparing the Music page.
• look after their voice; for information and advice, including vocal exercises and warm-ups, at Preparing your Voice

Singing lists are generated in the final weeks before a concert and include every member who has not sent their apologies AND has attended, or is on track to attend, at least 75% of rehearsals OR has been given special exceptional permission to sing (see below). Members with low attendance will be contacted before the singing is generated.

If you discover you have not attended enough rehearsals to be included on the singing list, please speak to your Voice Rep (see list below) who will contact the Membership Officer Marianne Grayson, to seek permission to sing. Marianne has some discretion, but if you fall outside this she will contact Darius on your behalf. Please make sure you make your appeals via your Voice Rep rather than going to someone else – and especially don’t appeal directly to Darius as he doesn’t have easy access to attendance records.

Please register your attendance at all rehearsals, scanning in with your membership card at the register desk on arrival. If for some reason you are unable to do this, please sign the sheet on the desk so that your rehearsal attendance record can be maintained accurately. However, please try not to forget your card, as these manual sign-ins create extra work.

Voice Reps

Voice Reps will follow up anyone who has been attending but is at risk of falling below 75% and has not sent concert apologies.

Voice Reps are also the people to consult for anything else: questions, suggestions, comments, feedback and complaints.

Anyone who wishes to see their attendance record may do so at any time, by request to their Voice Rep in the first instance.

For a list of all the Voice reps, please go to Chorus contacts

Compulsory Rehearsals

There are usually at least two compulsory rehearsals.

• The piano rehearsal or conductor’s rehearsal. This is the first opportunity for the visiting conductor to hear how the chorus sounds and it is obviously vital that everyone on the singing list is present. It is also the opportunity for the conductor, whether visiting or our own Music Director, to put his or her own interpretation on the performance and to check compatibility with the orchestra and soloists. It is often held on the Tuesday immediately before the concert, but may sometimes be the previous week. All rehearsals designated as piano rehearsals on the rehearsal schedule are by their nature compulsory.
• The orchestral/band or ‘tutti’ rehearsal. This is often the only opportunity for all the performers to rehearse together, so everyone must be present. For Saturday concerts the tutti rehearsal is almost always held on the afternoon of the concert; members are generally required at the venue – usually the City Hall of course – from 2pm for two hours. For Friday concerts it is often held one evening in the week before the concert, and is not usually in Sheffield, but in the city or town where the orchestra is based. For example, when singing with the Hallé on a Friday, the compulsory orchestral rehearsal is at the Bridgewater Hall in Manchester on an evening of the week before the concert; for the Royal Northern Sinfonia the venue is the Sage in Gateshead. The chorus provides coaches to these compulsory rehearsals, financed from Chorus funds.
• Absence from one or more of the compulsory rehearsals  means that special approval to sing in the concert must be obtained from the Music Director; applications should be made via the Voice Reps.
• Although Darius encourages everyone to come to all rehearsals, whether they are able take part in a concert or not, he asks those not able to sing in any particular concert not to attend the compulsory rehearsal(s) so that he and/or the visiting conductor can hear the Chorus as it will sound on the night.

Arrangements for concert at St Marie’s on 1 November 2025 TIME TO BE CONFIRMED

Downloadable copy for printing: TO BE ADDED

• Venue is St Marie’s cathedral, Norfolk Row, Sheffield. City Hall, Sheffield.
• Public transport – see  https://www.travelsouthyorkshire.com/ 
• Parking in town: Public car parks and street parking.  https://www.sheffield.gov.uk/parking/city-centre-car-parking
• Programme: Jonathan Dove Seek Him that maketh the Seven Stars, Cassie White (second prize winner in the Young Composer Competition) for music like the sea, Stanford Blue Bird, organ solo (Darius), Coleridge Taylor Lea Shore & Summer is Gone, Balfour Gardiner Evening Hymn INTERVAL Lili Boulanger Hymne au Soleil, Durufle motets, organ solo, Jean Langlais Messe Solonnelle (double organ). Soloists from choir. Organists: Neil Taylor, James Mitchell and Darius. There will be seating for the choir when we’re not singing (and for those who need it on the altar).
• Entry and registration: TO BE ADDED
• Rehearsal time: TO BE ADDED.
• Seating: Seating plan can be downloaded below and a few copies will be available on the day. Please find a place within your voice part area, with taller people to the back and sides. PLAN TO BE ADDED
• Dress code – concert dress, all black, no sashes and no jackets
• Toilets – at the back of church and in the Holden Hall
• Dressing rooms: TO BE ADDED
• Music– in SPC black folders.
• Concert programmes -will be free
• Refreshments: please bring your own drinks, bottled water only on stage and only during the rehearsal – NO drinks are allowed on stage during the performance. If you take packed food please eat it in the dressing room and leave no trace.
• Health and safety information:
  • Do not attend if you have symptoms of Covid, flu, a heavy cold or uncontrollable cough
  • Please take your own drinks in unbreakable vessels; store and carry hot drinks safely
  • Keep belongings out of thoroughfares
  • Take care when using stairs and steps
• Evacuation instructions: In the event of an emergency, follow the directions of marshals and leave in an orderly fashion.  Assemble on Norfolk Row. Do not try to retrieve belongings.

Finding your way around the City Hall

Copy of the rest of this page for printing: Finding your way round the City Hall

Please stick to the prescribed areas so that we don’t compromise the City Hall’s fire safety arrangements and make life difficult for front of house and technical staff. This particularly applies to toilets; the concert arrangements will make clear which toilets we can use and any others, which we might use on other occasions, are likely to be locked. Many thanks.

Getting in and out and registration

• Chorus members usually enter via the Stage Door, which is down a set of steps towards the right hand side of the back of the City Hall; press the white button on the right if locked.
• We are sometimes asked to enter via the main entrance at the front, in which case we register at desks just inside the entrance.
• Registration is sometimes by the Stage Door; this is very cramped so try to move away as soon as you can.
• Registration is often at desks on the production corridor. From the Stage Door go through the double doors just past the stairs and carry straight on; the production corridor is through another set of double doors on the right.
• Registration is often on sheets, sometimes via membership cards; be prepared for either.
• If wristbands are provided please wear one and keep it on all day. It signifies that you have signed in and do not need a bag or ticket check (though a few random checks are sometimes conducted) and you may encounter difficulties without  it.
• If you leave the building after initially registering, exit via the Stage Door, signing out as you go. This is most important, otherwise, emergency services would search for you (in vain) should the building have to be evacuated during your absence.
• Re-enter by the Stage Door NOT the main entrance.
• The Stage Door staff usually put up signs just inside the Stage Door; all the staff are very friendly and helpful, so just ask if you get lost.

Dressing rooms  – the rooms we are allocated vary from concert to concert.

• North and/or South Hall; these are large rooms in the City Hall basement, adjacent to the Ballroom. Lots of space, and a mirror, chairs and bins are usually provided.
• To get to the basement dressing rooms from the main entrance, take the lift from the foyer all the way to the bottom. Or walk along the curved corridor behind the auditorium in the direction of the stage, then through the double doors. Continue forwards, passing through three sets of double doors to reach the stairs going down to the basement.
• To get to the basement from the Stage Door, go through the double doors just past the stairs and carry straight on through another two sets of double doors until you reach the stairs down to the basement.
• Vincent Harris suite – up the stairs nearest to the Stage Door, then up the next flight and on the corridor at the top. When the whole choir shares the two suites it’s extremely cramped and it may be best to arrive at the City Hall already wearing concert dress.
• Barbirolli suite – in a similar position but at the other side of the stage: through the double doors just past the Stage Door stairs and carry straight on through another set of double doors, up the stairs and the next flight up and onto the corridor at the top. A longer walk from the Stage Door and very cramped when the whole choir is up there.
• Dressing Room 4 – for those with mobility limitations, and people who need to be close to the stage (eg to switch on Christmas lights, organise sherry etc). It is at platform level up the stairs farthest from the Stage Door.
• Jugs of water are sometimes provided but not always, so it’s best to take your own.
• People can eat packed teas in their dressing rooms but please leave spaces as you found them and take your rubbish home. We are usually given permission to eat tea at balcony level when this isn’t being sold to the public.

Getting on stage

• There isn’t much space on stage for bags and coats, so it’s best to take these to the dressing room before going on stage for the rehearsal. Allow a good 10 to 15 minutes to get there and back in time if using the basement dressing rooms.
• To get to the stage from the Stage Door, sopranos and tenors go up the stairs near the Stage Door and take the first right turn through the door onto the stage. Altos and basses go through the double doors near the stairs and straight on through another set of double doors, then up the stairs on the right; the stage entrance is first left.
• However you may take the most direct route onto the stage, even if this takes you onto the wrong side. It’s better to cross the stage in front of the organ if that’s quicker and more direct.
• The entrance doors onto the stage have a heavy curtain which is needed to filter out backstage noise, so always make sure these are drawn closed if it’s nearly time to start. Similarly, if you’re last in, make sure you close the doors – gently so they don’t make a noise.
• Going down the riser steps can be very noisy, so if you’re arriving while the orchestra or soloists are rehearsing or during the pre-concert talk, please enter quietly and sit in the organ seats for the time being.

Toilets

• There are toilets in the basement corridors and in the corridors at Stage Door level.
• There is a fully accessible toilet on the corridor near the stairs to the Stage left (alto and bass) stage entrance
• There is a toilet in Dressing Room 3; please be mindful of the fact that it may be in use by a chorus member who uses a wheelchair.
• We always ask that toilets be unlocked; please report to the Administrator or Rehearsals and Events Officer if you find them locked.
• We also ask for the auto-locks on the doors from backstage to the auditorium are switched off, so that you can use the nearest auditorium toilets. However, there is no guarantee of this and if they lock you will face a long walk back round the outside of the building and in via the Stage Door.

The concert itself

Entry onto the stage

• Take your places on the stage informally, in your own time, remembering that you are in full view of the audience.
• Please don’t wave at friends in the audience.
• If you are happy with the long wait, you can start to take your on-stage seat half an hour before the concert.
• Please be in your seat, with your music, ten minutes before the concert start time at the latest.
• If you know you will arrive at the last minute (ie 10 mins before) please sit near the edge rather than in the middle.

Stage seating

• Our Concerts and Rehearsal Officer organises seating and a seating plan is usually circulated the week before the concert, with copies available on the day.
• Seats are unallocated within each voice part, and your seat for the compulsory rehearsal is your place for the concert.
• Please sit in voice part blocks in accordance with the seating plan, with tall people towards the back and edges of the risers and on the organ seats if we are using them.
• Choir members with mobility limitations should sit either on the organ risers or on the back row – please follow instructions at the rehearsal.
• Be prepared to move if asked.
• A special plea – can members please stick to the seating plan and not alter it to be able to sit with friends, especially where this isolates colleagues from other voice parts, which is very disconcerting at the best of times but especially so given the City Hall’s dry acoustic.
• Please be in position on the stage for the compulsory rehearsal no later than 5 minutes before the start time – 10 minutes is better.

 Getting off stage and out of the building

• File off stage row by row, starting at the back and intermingling with those in the organ seats; move as quickly as you can.
• Move along corridors etc as quickly as you can so you don’t create a blockage – chat about how great it was when you reach the dressing room!
• Check that you have everything with you if you are going straight home.
• Leave via any exit, and there’s no need to sign out.

Car parking

The City Hall has an arrangement with Q Parks, see https://www.sheffieldcityhall.co.uk/Q-Park-Rockingham-Street.

In Conversation

Trisha Cooper almost always has an on-stage ‘In Conversation’ session with the conductor or a member of the orchestra or a soloist, before the concert at 18.00 in the main concert hall. Members of the chorus can attend this session, which is usually very interesting and often provides an insight into the composer and the music or the way the conductor plans to interpret it. There’s no talk before the Christmas carol concert(s).

Health and safety

• Do not attend the concert if you have symptoms of Covid, flu or a heavy cold or uncontrollable cough.
• Don’t use breakable vessels in dressing rooms; store and carry hot drinks safely.
• No drinks on stage during the performance, even in bottles – the thud if they fall down from the risers will be very loud!
• Keep belongings out of thoroughfares, especially in restricted areas.
• Take care when using the stairs and steps to the stage.
• In the event of an emergency, a continuous alarm will be sounded, and we will be directed out to the war memorial on Barker’s Pool (fire) or to Devonshire Green (bomb). Follow the directions of marshals and leave in an orderly fashion.  Do not try to retrieve belongings.

Discount for Choir Clothing

Making Music is offering members a discount for the black performance clothing available online via this link. The clothes are crease resistant and designed for performance comfort and breathability. The discount code is makingm10.

Listen to Rachmaninov piano duet played by Darius (attachment) July 2020

Darius has been unable to get to an organ during the lock-down, so to keep his hand in on the piano he’s been playing the final two movements of the Rachmaninov Suite for Two Pianos (playing both parts). If you’d like to listen to the result, he’s recorded them:

• Romance from Duet for Two Pianos Rachmaninov
• Tarantelle from Duet for Two Pianos Rachmaninov

You can also listen to the recording of the new brass arrangement of the soprano aria ‘How Beautiful Are the Feet‘ from Handel’s Messiah. The new arrangement is one of three from Messiah that Darius has put together during the lock-down. Soprano Catrin Pryce-Jones was to have performed Messiah with us in April, and was happy to make the recording with Black Dyke Band, all performing from their own homes during lock-down. You can listen to it on the public area of the website: Listen to How Beautiful Are the Feet

AGM 2024

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These Rules, amended in January 2025, form an Appendix to the constitution of the Chorus. You can read the Constitution here. 

1          Members are expected to abide by the Rules as set out in this appendix.

2          Any clause in this appendix may be amended by the Trustees in accordance with Clause 26 of the constitution.

3          Where any part of this appendix contradicts the governing part of the constitution the main document shall take precedence.

4          MEMBERS’ RESPONSIBILITIES

4.1      All members of the Chorus are expected to take voice tests according to the current audition policy set out by the Music Director (see Section 7 of this Appendix), and to demonstrate and maintain musical and general competency appropriate to the interests and purposes of the Charitable Incorporated Organisation (see constitution clause 9 (1) (b) (iii)), such as to enable the Chorus to maintain a high level of musical excellence.

4.2      Members are expected to take part in all concerts, or other performances, recordings etc notified as part of the season.

4.3      Members are expected to attend all rehearsals, where possible. Those with some absence, eg, due to illness, work or family commitments, may still be able to sing in the relevant concert, at the discretion of the Music Director. However, this is rarely applied where attendance falls below 75%.

4.4      Notwithstanding the requirements of Rule 4.3 of these Rules all members must attend the conductor’s piano rehearsal and final or orchestral rehearsal for each  concert or other performance, recording etc.

4.5      Members must register their attendance at each rehearsal and concert, performance, recording etc in a manner approved by the Trustees. Members should inform the Membership Officer if they leave rehearsals early. There is no need to send apologies for rehearsal absence; failure to register will be taken as an apology.

4.6       Any member who is unable to attend any piano rehearsal, final or orchestral rehearsal or concert, or other performance, recording, etc must notify their Voice Rep and the Membership Officer in writing as soon as possible.

4.7      The Trustees have delegated to the Music Director the right to exclude any member from taking part in a concert, other performance, recording etc, if one or more of the attendance requirements detailed in Rules 4.3 – 4.6 or the subscription requirement of Rule 4.12 of these Rules have not been satisfactorily met.  The Music Director will consider appeals against such an exclusion where the member’s attendance record falls short of the requirements given above.  All such appeals must be submitted via the Membership Officer.

4.8       The Music Director has also delegated a Limited Authority to the Membership  Officer to consider such appeals in strictly limited cases.  Members may appeal to the Music Director against the Membership Officer’s decision.

4.9       The Music Director may also temporarily exclude a member from taking part in a concert, performance, recording etc because of voice quality issues until such time  as those issues have been addressed to the Music Director’s satisfaction.

4.10    In all cases the Music Director’s decision as to whether members may take part in a  concert, performance or recording etc is final.

4.11    If any member is unable to maintain attendance at rehearsals over an extended   period, but wishes to retain membership of the Chorus, a request for Leave of   Absence must be notified to the Membership Officer.  Leave of Absence may be granted for a fixed period or indefinitely as dictated by the member’s situation.  At the present time, at the discretion of the Trustees, no membership subscription is  payable if Leave of Absence extends over more than 12 months.

4.12    Members who have not attended for a period of more than twelve months without apology or request for Leave of Absence will have their membership terminated automatically.  If such members wish to return to membership of the Chorus, they must do so as new applicants for membership.

4.13    Members must notify the Membership Officer of any change of name, address, email address, telephone number or next-of-kin (emergency contact number). The  Membership Officer’s contact details are published on the Chorus’ website.

4.14   Members should avoid using mobiles during rehearsals and must never use their mobile while on stage at a concert. If a member needs their mobile for a home or work emergency during a rehearsal, they should leave the rehearsal room to take the call or message. Members experiencing or expecting emergencies during concerts should not go on stage but should monitor or respond to the situation from an off-stage location.

4.15    Members will be given details of voice coaching and concert procedures, including  the concert dress code, on joining the Chorus.  Their membership of the Chorus includes their agreement to abide by these and any other voice- or concert-related arrangements determined by the MD and/or Trustees, and to participate fully in rehearsals.

4.16    The annual subscription is payable as soon as possible after the Annual General Meeting but within three months, ie by 31 December, at the latest. Members who have not paid or made firm arrangements for payment with the Finance Officer will not be eligible to sing in the Christmas carol concert. See constitution clause 9 (4) (a) (iii) Termination of Membership. Members can pay the whole amount in cash or by cheque or bank transfer or pay regular instalments via direct debit or standing order. Concessions are readily granted by the Finance Officer in order that no one is excluded from membership for financial reasons.

5          MUSIC

5.1      The Librarian will make a charge to cover the expenses of hiring music scores, postage, storage etc.

5.2       Members are expected to return hired music scores in good condition to the Librarian within two weeks of the relevant concert. Markings should be made in soft pencil only and removed before return.

5.3       The Librarian will make a charge for music scores that are not returned, or which are damaged, sufficient to cover the resulting additional costs.

6          APPOINTMENT OF MUSIC DIRECTOR, ACCOMPANIST and VOCAL COACH

6.1      If there is a notified vacancy in the post of Music Director, Accompanist or Vocal Coach, the Trustees will decide how to proceed within 4 weeks. This may include advertising for suitable applicants, or some alternative method of acquiring suitable expertise, whether temporarily or permanently.

6.2       All appointments will follow procedures set out in the SPC Recruitment and Selection Policy.

6.3      The Accompanist and Vocal Coach will be appointed by the Trustees, taking note of the advice of the Music Director.

6.4      The Music Director, Accompanist and Vocal Coach may attend and speak at all Trustees’ meetings and general meetings but shall not be entitled to vote on any issue.

7          AUDITIONS AND MUSICAL PARTICIPATION

7.1      All choir members are required to re-audition at least once every three years.

7.2       Initial auditions are conducted by the Music Director, the Accompanist and the Vocal Coach. Members or prospective members may invite someone else to sit in the audition.

7.3       Information about the outcome of the audition or re-audition will be given verbally at the end of the audition or by email or telephone within 24 hours; in addition, for initial auditions, it will be followed up in writing.

7.4       A successful audition or re-audition will normally mean that the next audition will be in three years; however, the Music Director may decide on a shorter period, and the period may be adjusted to fit in with the yearly cycle of auditioning each section.

7.5       Members who are unsuccessful in their re-audition will normally still be allowed to sing in the next concert.

7.6       The Music Director may ask a member not to participate in a particular concert even after a successful re-audition.

7.7       The Music Director may require a member to attend vocal coaching or music-reading classes, as a condition of remaining in the chorus.

Additional information about auditions from the Music Director

Entrance auditions

• Auditions take place in front of the Music Director, Accompanist, and Vocal Coach. If it would make you more comfortable you may have a friend to “sit in” on your audition.  You will be asked to sing a piece of your own choice – this can be anything you like, up to about 3 minutes long.   It should be accompanied – our accompanist can play the piano for you. After that our Vocal Coach will take you through some exercises to give us an idea of how your voice is now, and its potential for the future. This will include singing a few scales to determine the range of your voice. You can sing these to any vowel sound that you like.
• There is no sight-reading test, though we do expect you to have some music-reading ability.  We’ll talk to you about that in context of your previous musical experiences, including any choirs or ensembles you may have participated in, and we’ll also give you some simple aural tests to see how you pick things up by ear.
• You’ll be told the outcome of your audition immediately.  If you do not pass the audition (and most people do) I will do my best to explain the reasons and make suggestions about what could be improved.  If you pass the audition but are less musically experienced or aren’t used to working on the style of music we often sing, we will ask to hear you again after you’ve sung with us for a year or so, when we’ll talk to you about pieces we’ve worked on and ask you to sing some extracts from them. There are also music reading classes available.  We may also recommend that you have sessions with our Vocal Coach.

Re-auditions

• Re-auditions usually consist of scales to establish if your vocal range has changed, and you will be asked to sing from something we are currently rehearsing or have recently performed.  If you didn’t take part in the previous concert, we won’t ask you to sing a piece you haven’t rehearsed.
• The real purpose of the re-auditions is to check that your voice is still in good condition and to help me choose a semi-chorus if necessary.  If any vocal problems are becoming apparent, I’ll explain them as best I can, and probably reduce your time between re-tests to one year.   If the problems are serious enough, you may be asked not to sing in the next concert and/or go for a session with our Voice Coach so she can advise me on the best course of action, and whether a further audition is necessary.
• I’m often asked at what age people should stop singing.  There is no general rule that can be applied: some voices are worn out by the early forties; a few last into the eighties.

Darius Battiwalla, June 2021

CONCERT PLATFORM PROCEDURE

Please maintain a professional presentation at all times,  ie  correct concert dress, no fidgeting with music, no bottles of water and no waving to the audience.
There should be no talking from when the first violinist stands to tune up the orchestra.

Getting onto the Platform

If we are filing on, line up in single file along the stairways, taking care not to cause an obstruction as the orchestra members have to get up and down, and some will be carrying expensive instruments.

• Front row leads on, folders under outward facing arm held at side.
• Sit down immediately on reaching your seat.
• Stand as one body when the leader of the orchestra enters or stands to take welcoming applause, and either sit when he/she sits or remain standing ready to sing.
• If we are not singing in the first half, then we are “as audience” so remain seated at all times. However, remember we are ‘on show’, so stay silent and don’t make distracting movements.

If drifting on, take your seat in your own time – but perhaps be windful of where you are sitting eg not arriving too early if you are on the end of a row.

Interval

• Back row leads off, leaving folders on seats.
• Move away as quickly as possible once you reach the backstage area – it is often blockages here that hold up those who are still on the platform.
• Make sure you return in plenty of time after the interval, which for us may effectively be just five minutes.

At the end of the concert

• Keep very still once the piece ends, keeping scores open until applause begins, then close them ‘as one’, tucking them under right arm with arm down at your side.
• Do not applaud during the initial applause period, ie while you are standing – we are being applauded along with the other performers.
• Sit down as one, when the conductor leaves the stage.
• Stay seated when soloists etc return on stage for further applause, when you may applaud along with the audience, scores on your knee.
• However do not applaud our Music Director (MD), since s/he is representing the chorus.
• Stand if the conductor asks us to, and do not applaud while standing. Sit again when the conductor leaves the stage.
• If our MD performed in an additional capacity, e.g. organist, applaud as for soloists.

Concert Dress Code

It is important that all singers feel comfortable and confident in what they are wearing. The concert dress code is designed to give freedom of choice and design, but also a degree of uniformity and appropriateness to the overall appearance of the chorus and to the venues at which we sing.

Men

• Black shirts (no shiny material, black buttons), black trousers, black socks, and black shoes
• Black jacket or DJ for formal concerts eg City Hall or if cold
• No frills or flounces, no waistcoats, cummerbunds or breast pocket handkerchiefs.

Women

• Black dress or long skirt or trousers, formal rather than fashion or niche, and full length, ie, resting on top of the foot when wearing concert shoes, whether trousers or skirt/dress. No crop or ballerina length, no very narrow or skin-tight trousers.
• Long-sleeved (below elbow) black top or tunic with modest neckline front and back; no slashed or off-the- shoulder.
• Fabric to be non-patterned (unless within the weave), non-shiny and no open-weave. No frills or flounces, cut-outs or open-weave lace.
• Black or neutral socks or tights.
• Smart black shoes or smart black sandals if preferred – take extra care that tights or socks are black if wearing sandals. No boots unless ankle length and fairly plain.
• The sashes are mandatory for sopranos and altos. They are to be worn over the outer shoulder, secured by a small gold pin or brooch. Specialist clean only.
• Black clutch style or small evening handbag.
• If you choose to wear a necklace and/or earrings, they should be small

Downloadable version for printing: Stage Procedure and Dress Code

Seating Arrangement

Seats are unallocated within each voice part, except on occasions for semi-chorus seating.  Your seat for the afternoon rehearsal is your place for the concert, but tallest people should sit towards the back, or the outsides of the row, because of sight lines.

Please stick to the seating plan, which is designed to ensure that every member is able to sit next to a colleague from the same voice section – even if this means splitting a friendship group. Being isolated by voice part can ruin the experience for anyone thus affected, which can be very dispiriting after all their hard work preparing for the concert.

The Rehearsals and Events Officer is responsible for seating so please be prepared to move if asked either by them or by a Voice Rep.

Afternoon Rehearsal

Latecomers must wait for a suitable break before joining the body of the Chorus.

If the Conductor releases the Chorus early but keeps the orchestra onstage, leave very quickly and in complete silence or remain until the orchestra finish.

Concert Presentation

Please maintain a professional presentation at all times,  ie  correct concert dress, no fidgeting with music, no bottles of water and no waving to the audience.

There should be no talking from when the first violinist stands to tune up the orchestra.

Platform Procedure

If we are filing on, line up in single file along the stairways, taking care not to cause an obstruction as the orchestra members have to get up and down, and some will be carrying expensive instruments.

• Front row leads on, folders under outward facing arm held at side.
• Sit down immediately on reaching your seat.
• Stand as one body when the leader of the orchestra enters or stands to take welcoming applause, and either sit when he/she sits or remain standing ready to sing.
• If we are not singing in the first half, then we are “as audience” so remain seated at all times. However, remember we are ‘on show’, so stay silent and don’t make distracting movements.

If drifting on, take your seat in your own time – but perhaps be windful of where you are sitting eg not arriving too late if you are in the middle of a row.

Interval

• Back row leads off, leaving folders on seats.
• Move away as quickly as possible once you reach the backstage area – it is often blockages here that hold up those who are still on the platform.
• Make sure you return in plenty of time after the interval, which for us may effectively be just five minutes.

At the end of the concert / when we have finished singing

• Keep very still once the piece ends, keeping scores open
• When applause begins, close scores ‘as one’, tucking them under right arm with left arm down at your side (right arm holding score across your body).
• Do not applaud during the initial applause period, ie while you are standing – we are being applauded along with the other performers.
• Sit down as one, when the conductor leaves the stage.
• Stay seated when conductor, soloists, MD etc return on stage for further applause, when you may applaud along with the audience, scores on your knee.
• Stand if the conductor asks us to, and do not applaud while standing. Sit again when the conductor leaves the stage.
• If our MD performed in an additional capacity, e.g. organist, applaud as for soloists.
• File out as quickly as you can from the back row, intermingling with people in the organ seats when used.
• Move as quickly as possible down the stairs and along the corridors – it is often blockages in the backstage area that hold up those who are still at the stage exits or on the platform.

Concert Dress Code

It is important that all singers feel comfortable and confident in what they are wearing. The concert dress code is designed to give freedom of choice and design, but also a degree of uniformity and appropriateness to the overall appearance of the chorus and to the venues at which we sing.

Men

• Black shirts with black button (no shiny material), black trousers, black socks, and black shoes
• Black jacket or DJ for formal concerts eg City Hall, or if cold
• No frills or flounces, no waistcoats, cummerbunds or breast pocket handkerchiefs.
• Christmas – red, green or gold bow ties; these can have flashing lights if you like.

Women

• Black dress or long skirt or trousers, formal rather than fashion or niche, and full length, ie, resting on top of the foot when wearing concert shoes, whether trousers or skirt/dress. No crop or ballerina length, no very narrow or skin-tight trousers.
• Long-sleeved (below elbow) black top or tunic with modest neckline front and back; no slashed or off-the- shoulder.
• Fabric to be non-patterned (unless within the weave), non-shiny and no open-weave. No frills or flounces, cut-outs or open-weave lace.
• Black socks or tights, or neutral if not wearing sandals.
• Smart black shoes or smart black sandals if preferred – take extra care that tights or socks are black if wearing sandals. No boots unless ankle length and fairly plain.
• The sashes are mandatory for sopranos and altos, except for individual concerts as arranged periodically. They are to be worn over the outer shoulder, secured by a small gold pin or brooch. Specialist clean only.
• Small plain black clutch style or small plain black evening handbag.
• If you choose to wear a necklace and/or earrings, they should be small.
• Christmas – festive or red, green or gold ear rings or necklaces; these can have flashing lights if you like.