Gloria! East Devon Choral Society and Guests perform Vivaldi Gloria & Handel Coronation Anthems St Peter's Church Tiverton Saturday 22 November

Special Guests
Soprano Beth Yates
Countertenor Owen Ravden

Saint Cecilia's Day each year is a time to honour the patron of sacred music with major recitals of baroque masterpieces in a church setting. This year Andrew Daldorph and his East Devon Choral Society were at St Peter's Church in Tiverton to perform music by two great renaissance composers from Italy and Germany, Antonio Vivaldi and Georg Friderick Handel. They were joined by a small orchestra led by a very special guest visiting from Dumfriesshire, Fiona McLean Buechel.

The concert opened with the "Gloria in Excelsis Deo" (Glory to God in the Highest). Fiona led the orchestra in the introduction with her usual impeccable style. The opening "Gloria!" from the choir was powerful and appropriately full of passion. Under Andrew's skilled supervision a hundred voices rang out in perfect unison.

The choir has grown impressively in size with thirty sopranos and an even greater number of altos. Tenors and basses are more at a premium but held their own magnificently, with even the quietest passages perfectly balanced.

Among the choir were four very special guests. The sopranos welcomed soloists Rebecca Yates and her daughter Beth Yates, while the altos were joined by the spectacular countertenor Owen Ravden, and Nicholas Yates joined the tenors.

Every part of the Gloria was a delight and inspiration with some very memorable highlights. After the opening "Glory be to God in the Highest" ("and on Earth peace to men of good will") the orchestra introduced Rebecca and Beth singing the "Laudamus Te" (We Praise You).

Later there was an incredibly beautiful introduction and accompaniment to the "Domine Deus, Rex Coelestis" (Lord God, King of Heaven) by oboist Andrew Marlies with delicate pizzicato continuo from 'cellists Holly Molineux and Tirke Linnemann and double bass player Graham Tuck.

This was the opportunity for Beth Yates' voice to take centre stage. Beth is a Durham University modern languages scholar and, more recently, prize winner with her own choir the Phoenix Consort. Her singing was delicate and emotional, perfectly complementing Andrew's sensitive oboe playing.

The next revelation was fellow Durham graduate, and now Guildhall performance scholar, Owen Ravden, singing the "Domine Deus, Agnus Dei" (Lord God, Lamb of God) with exemplary control and feeling. Colin Pettet accompanied him on the chamber organ with the whole choir gently interjecting "Qui tollis peccata mundi" (Who takes away the sins of World).

Trumpet: Eloise Yates

The Gloria is in twelve sections, each of which was beautifully performed by the choir, building a feeling of tranquility and awe. A performance to remember.

Before the interval there was just time for one of the orchestra's trumpeters, Eloise Yates, to step up to perform a sensational trumpet concerto by Vivaldi's contemporary Giuseppe Torelli. Despite being in Devon for only a short time on this visit, Fiona had the orchestra perfectly prepared for Eloise's performance and Eloise herself played magnificently.

After the interval the rousing music continued with Georg Friderick Handel's most familiar Coronation Anthem, recently heard at the coronation of King Charles III. Even without reference to the programme notes the opening sinfonia was unmistakable and the triumphant roar of "Zadok the Priest" a joyous fulfilment joined by the percussive thunder of Sally Basker's tympani.

Soprano Special Guest: Beth Yates
Oboe: Andrew Marlies
Orchestra Leader: Fiona McLean Buechel

There followed three more of Handel's anthems, written for the coronation of George II in 1827. Each was a perfect addition to the evening's entertainment, sweetly enunciated and showing off the superb power of the choir's collective voices. There were also opportunities to hear Rebecca, Beth and Owen singing selected parts from their places in the choir. Also standing among the male singers were two tenor soloists, Alex Scott and Rebecca's husband Nicholas Yates, each contributing their own part to the excellent whole.

East Devon Choral Society has been in existence for fifty three years and is still as strong and impressive as ever. Every voice is heavenly and the entire force perfectly coordinated by their Musical Director, Andrew Daldorph. Tonight's concert at St Peter's Church was a thoroughly enjoyable experience and also a prime example of all that the choir represents: splendid music splendidly performed.

All this is achieved with only one rehearsal per week. Anyone interested in finding out more about the choir - and perhaps thinking about joining - can join the rehearsals at Moorhayes Community Centre on Monday evenings. Rehearsals for the next concert begin on the second Monday of the New Year - 2 January 2026.

And that next concert will be a celebration of modern English music, featuring the compositions of Sir Edward Elgar ('The Music Makers'), Ralph Vaughan Williams ('Five Mystical Songs'), Hubert Parry ("I was glad") and a very special arrangement of the canticle "Magníficat ánima mea Dóminum" ("My Soul doth Magnify the Lord") composed by Andrew Daldorph himself.

Many thanks to founder member and Vice-Chairman of the choir, Sue North, and her husband Victor North for publicising tonight's and every other concert by the East Devon Choral Society. Long may this very special Devonian tradition continue!

Choir and Orchestra stand to receive tumultuous applause.
Musical Director Andrew Daldorph is flanked by
Orchestra Leader Fiona McLean Buechel
and 'Cellist Tirke Linnemann

Carmen! Iryna Ilnytska & Exeter Opera Group perform Georges Bizet's 1875 Opéra Comique Exeter Castle Ballroom Saturday 8 November 2025 Mary Harris Memorial Chapel 22 November 2025 Teignmouth Classical Music Festival 7 March 2026

The arch-manipulator Carmen (Iryna Ilnytska)
seduces her captor Don José (Robert Felstead)
to avoid the consequences of her actions

Following the resounding success of the well attended 'Viva Verdi' recital in the Rougemont Room at  Exeter Library, featuring the voices of mezzosoprano Iryna Ilnytska, soprano Melanie Mehta and tenor Ian Spackman, with piano accompaniment by their new but delightfully familiar pianist, Tim Lawrence-Othen, The Exeter Opera Group returned in full strength for a fully staged performance of George Bizet's celebrated opéra comique - 'Carmen'.

The setting this time was the airy and sun-drenched ballroom of Exeter Castle, just a few hundred yards across Northernhay Gardens from the Rougemont Room at the library. A capacity audience watched and listened entranced as the performers, framed by the giant bay windows of the ballroom, and in the glorious golden light of the afternoon autumn sun streaming through them, recreated the stirring story of the rebellious and unpredictable cigarette factory worker Carmen and her many ill-fated lovers.

The action began very subtly with the tinkling of a tiny hand-bell, suggesting the 'tringles des sistres' (tambourine bells) which 'tintaient' (jingle) in the song and dance routine of Carmen and the 'zingarellas' (gypsy girls) which we know is soon to come. Having got attention, the Director stepped to the stage and explained briefly and succinctly the context of the opera's composition, and gave a brief synopsis of the action in the first half. This helps greatly with following the French lyrics (which are beautifully enunciated in any case!) The same introductory explanation was also provided for the second half.

Immediately the company's new pianist, Tim Lawrence-Othen, ably assisted by Exeter Opera regular Richard Lucas, launched into the rousing overture to the action. The cast assembled, identifying their characters through consummate silent acting and, after a big chorus to open, the first aria goes to St David's Players veteran Ian Spackman. As Morales, Corporal of Dragoons, Ian sings to the messenger Micaëla (Anna Tophill) explaining that the man she seeks (Don José) is not yet on duty.

Suddenly, as the bell rings to signal the end of the factory shift, Iryna Ilnystka appears as Carmen with her colleagues, and immediately begins her famous Habanera "L'amour est un oiseau rebelle" (Love is a rebellious bird). As in many previous recitals Iryna's performance is utterly bewitching, as well as highly embarrassing to any available male cast members and even members of the audience. Iryna picks on each in turn, warning them how dangerous it is to court her affections, ending each interaction with the portentous words "Prends garde à toi!" (Watch it!)

Poor Ian is her final and most unfortunate victim. Stripped of his uniform and forced to the ground he is finally discarded by the temptress Carmen. Meanwhile Don José has appeared, his part performed by Swindon baritone Robert Felstead. Robert is a wonderful new addition to the Exeter Opera cast and, although initial mute as he observes Carmen's outrageous behaviour without being at all impressed, he later sings in duet with Anna Tophill who, as Micaëla, has brought a letter from his mother entreating him to leave the army, return home, and marry Micaëla. This complex and slightly embarrassing scene allowed both singers to demonstrate their spectacular abilities.

Almost immediately, Carmen is arrested by the Officer of the Guard, Zuniga, played by the powerful bass-baritone Nick Young, dressed imposingly in desert camouflage reminiscent of Norman Schwartzkopf. Because of the violent crime she is accused of, Don José is ordered to bind Carmen firmly so she cannot escape. Carmen uses her powers of seduction to convince Don José to fall in love with her and let her escape, even though he will be punished with prison. This is a deception from which Don José will never recover.

Carmen, who runs away to the mountains to live with the gypsies, is joined by two lascivious 'zingerellas', Frasquita and Mercedes, played by Clare Northcott and Rachel Phillips. The plight of poor Don José is soon forgotten as they sing their exhilarating trio "Les tringles des sistres tintaient" (The tambourine bells jingle). The singing and dancing are intoxicating and transport the audience into the exciting and invigorating world of the zingarellas.

As soon as they have finished their captivating performance, a new character appears. Stephen Moseley, resplendent in his 'trace de luces' (suit of lights) introduces himself as the torreador, Escamillo. Dashing and brave he laughs at death. What better person to succeed where others failed so tragically in their ill-considered involvements with Carmen. The whole cast welcome him as  their hero - including Carmen.

Although the opera is billed as 'comique', the arrival of this illustrious rival, and Don José's subsequent return lead to inevitable tragedy - which Micaëla tries vainly to avert. One has to be there to fully experience the following action and incredible singing and acting by the principles and cast. For the entire second half of the programme the audience were on the edge of their (highly ornate) seats gripped by a story which Bizet knew had it all - love, conflict, violence, regret - all expressed by the singers with exceptional dramatic flourish and musical accomplishment.

Many thanks to Iryna and her fellow Director Nick Lawrence for this spectacular production, and to their Musical Director - Escamillo himself, Stephen Moseley. One can't praise the accompanist Tim Othen enough for his masterful interpretation of the orchestral score of the opera as solo piano - alternating with the exceptional Richard Lucas with whom he played an elaborate game of musical chairs, swapping places to take turns playing and page-turning, and inadvertently adding beautifully to the action taking place on stage. And there is one more player to thank. The return of Don José is heralded by a trumpet fanfare provided by house trumpeteer, Harry Stanwell.

The opera is created all over again tonight at the Mary Harris Memorial Chapel at Exeter University's Streatham Campus, setting for Exeter Opera Company's 'Dido & Aeneas' in January this year (see previous post). For those unable to enjoy tonight's performance, there will be another opportunity to share this memorable experience at the 2026 Teignmouth Classical Music Festival where Exeter Opera Group will perform 'Carmen' in St Michael's Church Teignmouth (on the seafront) on the evening of Saturday 7 March - with a new billing of Suzanne de Lozey playing flute in place of Harry Stanwell's trumpet.

Meanwhile Iryna and Exeter Opera Group continue their series of operatic revues and staged performances. Follow Phonic FM's 'Classical Journey' programme and Luch Càise-Dearg for details of performances to come.

Iryna Ilnytska: 'Dido & Aeneas' Mary Harris Chapel Saturday 25 January 2025 (and news of 'Orfeo ed Euridice' St Stephen's Church Saturday 1 February)

DIDO & AENEAS
Mary Harris Memorial Chapel
Saturday 25 January 2025
Lee Andraea is Dido's husband AENEAS
Kara Malton is Dido's sister BELINDA
Iryna Ilnytska is QUEEN DIDO OF CARTHAGE

Ukrainian operatic mezzosoprano Iryna Ilnytska and a group of like-minded musical friends have been putting on regular short concerts of operatic highlights for some years now. The theme of love often features. (Their collection 'Aspects of Love' will be presented at a special lunchtime concert at Exeter Cathedral on Valentine's Day (15 February) this year.)

For ten years now, Iryna has also joined Jane Anderson-Brown and the 'Red Earth Opera' company for full opera productions. She was Idomenea in 'Idamante' and Lola in 'Cavalleria Rusticana', and more recently joined Jane in directing Gaetano Donizetti's 'Elisir d'Amore'. Conversely singers from Red Earth have joined many of Iryna's recitals.

In 2024 work began on an opera directed by Iryna, with Nick Lawrence from Somerset Opera. Jane Anderson-Brown joined the cast along with Melanie Mehta, Kara Malton, and Lee Andraea and Susan Gunn-Johnson who are members of the St David's Players (famous for their Gilbert and Sullivan productions at the Barnfield Theatre), all to the accompaniment of John Draisey's virtuoso piano playing.

Their choice was the most famous opera composed by seventeenth century Gentleman of the Chapel Royal, Henry Purcell - 'Dido and Aeneas'. This story follows the brief marriage of Dido, widow of King Sychaeus of Tyre, and Aeneas hero of the Trojan wars, as imagined by the pre-Christian author Publius Vergilius Maro (Virgil) in his epic poem, 'The Aeneid', dramatised in the libretto of Purcell's contemporary, Poet Laureate Nahum Tate.

Piano Orchestration: John Draisey

Central to the production is Purcell's orchestration. The reponsibility for this music fell, in this instance, to a single accompanist, John Draisey, on the piano. Much credit goes to John for all his work in rehearsals and his flawless performance at the two performances - one at St Nicholas' Priory on Saturday 18 January and a second at the Mary Harris Memorial Chapel on the University of Exeter Streatham Campus on Saturday 25 January.

Not only was John hard at work throughout the opera, but also accompanied arias from other Purcell operas in the second half of the concert.

"Shake the cloud from off your brow."
Belinda: Kara Malton

For the sake of brevity the prologue was omitted and John opened the performance with the overture, a delightful musical summary of the story which also allowed time for the supporting performers and chorus to assemble on stage and process to the rear of the audience. En route there was time for some beautifully choreographed baroque dancing in the nave, between the two banks of pews where the audience were sitting. One suspects the hand of St David's Players' choreographer Susan Gunn-Johnson at work here.

As the players returned to the stage Queen Dido herself appeared, played by Iryna Ilnytska, and accompanied by her sister Belinda (Kara Malton).

"I languish till my grief is known."
Queen Dido: Iryna Ilnytska

Queen Dido is extremely downcast, despite Belinda's attempts at levity, recounting the Queen's triumph over the tragedy of the murder of her husband Sychaeus, and the usurping of her throne in Tyre by the murderer, her brother Pigmalion. In the intervening time Dido has managed to establish another empire for herself in North Africa, in the ancient city of Carthage (part of modern Tunisia).

Dido cannot shake off her despair, however, and responds with the very moving aria describing her overwhelming grief, and the pain of having to keep it secret from her new subjects. Belinda encourages her sister to share her sadness, and to embrace the compensatory prospect of the visiting Trojan hero Aeneas presenting the possibility of marriage and a new happiness.

A scribe records all: Sara Trumper

In a familiar operatic tradition, a silent mime is present to observe and record the entire interaction. a member of chorus, Sara Trumper, in clerical robes sits at a desk and makes a record of everything with quill and parchment.

Although the story is pure supposition by Virgil, the idea of written records reminds the audience of the possibility that they are witnessing a performance which is the enactment of real events from the past.

"The hero loves as well as you."
2nd Woman: Melanie Mehta

To counter the Queen's adamant insistence of the hopelessness of her situation, further voices are added to Belinda's entreaties. Another well-known local operatic soloist, Melanie Mehta, appears as the strangely unspecified '2nd Woman' and, joined by the voices of the chorus, reinforces Belinda's optimistic vision of Dido's future in a new marriage.

"Aeneas has no fate but you!"
Aeneas: Lee Andraea

Right on cue a royal retinue approach and Belinda introduces the Queen's suitor, Aeneas. Lee Andraea, in his light high tenor voice begins his ardent declaration of love. Dido, still reluctant to abandon her widow's melancholy, initially remains aloof and impervious to his blandishments.

"If not for mine, for empire's sake . . . "

However, Aeneas redoubles his efforts and tries to elicit Dido's sympathy, arguing that he will be equally distraught without her and perhaps lose his own kingdom. Dido is finally persuaded and diffidently accepts his marriage token, somewhat dismissively passing it to Belinda for safe keeping. Iryna demonstrates that impossible combination demanded of all operatic performers - perfect pitch and diction combined with masterful dramatic expression.

"Harm's our delight, and mischief all our skill."
Sorceress: Jane Anderson-Brown
Imps: Emily Grossman, Susan Gunn-Johnson

Of course, Greek theatre never limits itself to a mere romantic relationships. There always have to be malign unseen forces at work. Here these take the form of three mendacious sisters, evil spirits determined to turn the happiness of the new couple to despair. Jane Anderson-Brown is the leading sorceress, accompanied by her two enchantress minions played by Susan Gunn-Johnson and Emily Grossman, who compete to be the more villainous.

For reasons which are not explained they hatch a 

"Hark! how thunder
rends the mountain oaks asunder."

sadistic plot to deceive Aeneas into unnecessarily sailing for Troy to defend his kingdom, in the confident expectation that the separation will bring about Queen Dido's final desolation and demise.

In a masterpiece of dramatic irony the witches attend Dido and Aeneas' hunting party unseen, except by the audience, and revel in the cruel plan they have devised for the unfortunate couple. First they must conjure a storm to get Aeneas back to court . . .

"Jove's commands shall be obey'd."
Hermes: Emily Grossman

The two imps now begin an elaborate bit of 'business' attempting to fit golden wings to Emily Grossman's head-dress in order to pass her off as Hermes, the messenger of the gods. The wings do not fit and Emily ends up holding them aloft in a very unconvincing way. By these means it is made clear how gullible Aeneas is, to have been taken in by such a transparent ruse.

"Come away fellow sailors."
Sailor: Cressida Whitton

Another familiar feature of Greek theatre is the inexorability of the tragic outcome. However, Aeneas' spurious mission introduces the prospect of a sea voyage and there is the opportunity for a little comic relief as the sailors assemble for the forthcoming journey.

"Silence their mourning
with vows of returning."
Sailors' Dance: Megan Debenham

Cressida Whitton invades the stage to regale the audience with the bawdy song of a carefree sailor. The chorus join in, dressed in duffle coats and toting seamanlike coils of rope. Their selfish song of how they will promise their sweethearts to return, with no intention whatever to keep that promise, painfully echo the fate that awaits poor Dido.

"To death I'll fly if longer
you delay. Away, away!"

But that is more than enough levity. The fiendish sisters join the dance, crowing about the storm they'll call up to convince Dido that Aeneas has been drowned at sea.

The story resumes with a brief scene between Dido and Aeneas. He rebuffs her plea that he stay by insisting that he has been commanded by the gods to leave. But then he vacillates, offering to defy the gods in order to stay with Dido. However, she is now resolute and insists that the die is cast and he must leave.

Remember me!
Queen Dido: Iryna Ilnytska

Now the scene is set for Purcell's most famous aria. Poor Dido, utterly bereft and without hope, sings of her own death and how her only hope is to be remembered well.

'Dido's Lament' is unforgettable: "When I am laid in earth, may my wrongs create no trouble in thy breast. Remember me! But, ah! forget my fate."

"Death is now a welcome guest."

Iryna has often performed this aria for us as an extract for a recital, but here the full import of her words are made clear by the dramatic build up. As she sings so beautifully Iryna also gives a stunning performance as the heart-broken heroine unable to bear her grief any longer. She and the audience weep in response to her hopeless desperation.

"When I am laid in earth"

Suddenly, as the lament closes, the Queen produces some container of poison and quickly swallows it. As

"Forget my fate."

she dies her sister Belinda and the 2nd woman come forward and draw a funeral shroud over her face. As this devastating scene plays out the chorus return to sing her elegy.

"With drooping wing ye Cupids come,

"And scatter roses o'er her tomb,

"Soft and gentle as her heart;

"Keep here your watch, and never part."

"With drooping wings
ye Cupids come"
Summer Bindley-Carr

Rather than scattering roses, one of the chorus - Summer Bindley-Carr - honours the dead Queen by kneeling at her throne and holding up an outline of a heart in the colours of the Ukrainian national flag. A fitting memorial to the troubled love of our heroes.

"Keep your watch
and never part."

As John Draisey played the final phrases of Purcell's concluding music the cast withdrew leaving Summer alone standing reverently in memory of Dido - and Aeneas.

All that remained was for the cast to return to the stage to receive the appreciation of the audience, while Cressida distributed posies in recognition of the contributions of each singer, down to Summer herself, for her final appearance - and especially the hardest working member of the entire company, the piano accompanist John Draisey.

Bouquets to express gratitude to the stars
Dido & Aeneas: Iryna Ilnytska & Lee Andraea

 . . . and all the cast

especially the pianist: John Draisey

Many thanks to the two Directors, Nick Lawrence and Iryna Ilnytska, and everyone involved in creating this performance. Thanks also to the University of Exeter for the use of such a magnificent venue with its memorable atmosphere and excellent acoustics. One performer not mentioned above was regular participant in Iryna's recitals, tenor Michael Smith who was the fourth member of the chorus.

The team will be performing again this Saturday 1 February. This time it will be the music of Cristoph von Gluck - 'Orfeo ed Euridice' at St Stephen's Church in Exeter High Street.

Iryna Ilnytska will be Orfeo, and Anna Townhill will be Euridice. Other familiar voices will join the cast. Melanie Mehta will be Amore while sopranos Cressida Whitton and Clare Gilbert and altos Megan Debenham and Gabbi Humphries will fill other parts. The pianist this time will be Richard Lucas, and there will also be flute accompaniment provided by Ruth Molins.