Holiday Concerts a Success; Upcoming Performances

The Chorale was busy in late December with three performances. We began on December 20 with our annual holiday concert--an SRO sellout featuring the Mozart Coronation Mass, Handel's Zadok the Priest and seasonal favorites. The next day we joined the New Valley Symphony at the Hall of Liberty in Burbank, serving as the chorus for its holiday concert. We reprised the Coronation Mass, adding a crowd-pleasing Hallelujah Chorus and Christmas carols for a very enjoyable afternoon.

Our next performance is on February 8 at 2:00, when we rejoin the New Valley Symphony at the Hall of Liberty. We will be singing popular Opera pieces, including Verdi favorites--the Brindisi from La Traviata and the Chorus of the Hebrew Slaves from Nabucco. The concert is free, so fans in the area, come see us and the NVS for a musical Sunday afternoon.

And save the date: our Spring concert will be on May 9. More info to follow.

Christmas Concert Approaches

We're now a few weeks away from our annual Christmas concert. It will take place on Saturday, December 20, at 7:30 PM, at the Burbank First United Methodist Church, 700 North Glenoaks Boulevard, Burbank, CA!

The title of our concert is "Rejoice," a refrain featured in one of the very festive pieces we'll be singing, Handel's coronation anthem, "Zadok the Priest." In the same spirit, our featured work is Mozart's Coronation Mass. We're also singing two gorgeous, a cappella devotional pieces in a very different style and mood from the Handel and Mozart works: a selection from Rachmaninoff's Vespers, No. 7, "The Six Psalms," and another Russian beauty, the Hymn to the Holy Mother, No. 11, from Tchaikovsky's Liturgy of St. John Chrystosom. The rich harmonies are joy to sing. We'll also do some tuneful Christmas and Hannukah favorites and end with our usual sing-along!

All are welcome to join the festivities. Pre-concert tickets are $15 and can be purchased on our website at www.burbankchorale.org.

Evensong at King's College

A week ago I fulfilled one of my choral singer's dreams: I heard the King's College Choir perform a choral evensong service in its own "chapel" at Cambridge. I put "chapel" in quotes because the building is really a small gothic cathedral built in early Tudor times. It is unquestionably one of the most exquisite small cathedrals of its type, with beautiful vaulted ceilings and talled stained glass windows filling the side walls with color and light.

The King's Choir is of course well know to choral music fans; it has made many good recordings, including one of the Vivaldi Magnificat which we sang last year (with comparable beauty, I might add!). As many also know, choral evensong is a regular evening service in the Anglican Church, one in which the choir takes a major role, singing psalms, anthems and other liturgical texts in between spoken "lessons" read from the Bible. The King's Choir is small in number (advertised at 16 though it looked a bit larger to me), and, with young boys singing the upper parts, it is literally small in stature. It wore white robes with red trim, and looked and sounded beautiful performing both a capella and with organ in the candle-lit cathedral. The music was almost all of 20th Century vintage, including a short Magnificat by William Walton and a powerful Anthem by John Joubert. "Modern" music seems to be the norm at King's these days. I guess the older material gets "old" after a while, especially given their steady schedule of services. Remarkably, the Choir performs six such services per week. That's a lot of music to learn, especially since the participants have school work to do in addition. On the seventh day, Monday, the Choir gets a day off and the service is sung by the King's Voices, which is the College's mixed choir. (Perhaps the same lower voices are involved, making it a seven-day proposition for those singers.)

If you're ever in London, and have time for a day trip, it's a 45-minute train ride up to Cambridge. The evensong service takes place at 5:30 PM and is free to the public. A memorable experience to be had for any choral singer or choral music fan.

Kyrian Corona, President

While the country struggles to pick its president, the Burbank Chorale has once again made its rather easy choice by acclamation! We all recognize competence, dedication and infectious enthusiasm when we see it. But just who is that lady who writes the “president” columns, and stands up at rehearsal breaks to make important announcements? As it turns out, she’s not only a great leader; she has a fascinating musical background, and a cool public relations business that helps her do her president’s job exceptionally well.

Kyrian actually began her musical career at age 2 when her mother took her to a professional studio to record “Sailing, Sailing, over the Bounding Main.” (Top that, Mozart!) She began improvising on the piano at that time, inspiring her parents to give her piano lessons when she started grade school. Kyrian’s other love is writing. So to gratify the urge toward both disciplines, she majored in philosophy and intellectual history at the University of Wisconsin, while performing in rock bands on the side. After college, she began her professional music career, forming a popular band with her former husband, platinum recording artist Jimmy Corona. The couple toured the Western states for the next 10 years. Kyrian played multi-keyboards and was lead singer. They later stopped touring to concentrate on recording, picking up several Billboard songwriting awards in the process.

Looking for new musical challenges, Kyrian soon embarked upon other projects, including film scoring, an alternative music duo with a European art rock icon, performing at the Museum of Art Downtown Los Angeles, Los Angeles Contemporary Exhibitions, and composing music for London’s Institute of Contemporary Art.

Along the way, Kyrian has managed to study piano performance at Cal State Long Beach, film scoring at UCLA Extension, and composition at Los Angeles Pierce College. After all those musical adventures, fate led Kyrian to join our Chorale in 2005.

As Chorale president, Kyrian does a lot more than make announcements at rehearsals. She runs our Board meetings, taking the lead, with Misha, Georgia, Brad and others, in accomplishing our immediate tasks, and thinking through our future needs. With her skills in writing grants and her professional abilities in public relations, she is a key “player” in raising funds to keep us running, and helping to get the word out to the world about who we are. She even walks through potential concert venues!

It’s a lot of work just to learn the Chichester Psalms or a Mozart mass. Singing is the heart of what of what we do. But it takes a lot more to keep a Chorale in existence. People like Kyrian make it work!

Sing with us!

Our Fall 2008 season vocal auditions will be held:

* * * Tuesday, September 2nd 2008 * * *

BY APPOINTMENT ONLY
click here for more info
To set up an audition, or for further information, call 818- 759-9177 or email membership@burbankchorale.org .

BC at the Dodger Game!

Georgia filed this report on the BC fundraising trip to Dodger Stadium....

"Last Saturday (June 21), members of the Chorale and their guests enjoyed an afternoon at the ballpark as a fundraiser for the Burbank Chorale. The group of 50 arrived at Dodger Stadium on that very hot afternoon to watch the Dodgers play the Cleveland Indians and to sing some tunes to help publicize the upcoming release of Universal Pictures' feature film MAMMA MIA. We joined with members of the Gay Men's Chorus of Los Angeles and sang portions of MAMMA MIA, DANCING QUEEN, and TAKE A CHANCE ON ME. Fans in the stands around us joined in the fun, and we also sang a few impromptu "Happy Birthdays" along the way.

The Dodgers' may have lost the game in the 11th inning, but the Burbank Chorale won an afternoon of fun and raised $1,000 for the Chorale in the process. Thanks to everybody who participated!"

And thanks to you, Georgia, for organizing this event so well!

Singing the Fauré Requiem

So our Spring Concert took place last weekend at the Pasadena Presbyterian Church, a new venue for us, and an impressive one with its striking modern architecture and unusual stain-glassed windows. We started with our Morely and Arcadelt madrigals and sang them with a lot of spirit and rhythmic verve, or so it seemed to me. And the ladies and Colburn Children's Choir sang their Rachmaninoff piece, The Angel, well, angelically. The Song I Sing was a lively finish for the Chorale's first half; the audience certainly seemed to like the unusual mixture of pop, jazz, rap and Handel contained in the arrangement. Pop, jazz, rap and Handel--fun now and then, but for obvious health reasons I wouldn't take that mixture too often.

The Colburn choir followed with a beautiful set of folk and contemporary pieces, singing with precision and a truly lovely blend of treble voices, all showing Misha's loving hand as their director.

In the second half the Chorale turned to Fauré, with the orchestra in hand and with our own John Tveit at the church's towering new pipe organ. The Cantique is, of course, a lovely piece, a glorious little chestnut written by a teenage composer (and fantastically labelled "Op. 11" by a publisher who wanted Fauré to seem more experienced). If our French wasn't "native," our love of the music, I'm confident, more than made up for it. We all love singing the piece and I know that must have shown through.

Then came the Requiem. I first encountered the Fauré Requiem in high school when I had the experience of singing the Sanctus, the third section of the mass, with its flowing lines that lead up to those mighty "Hosannas." That led me to buy a recording, and I have listened to it from time to time with much pleasure over the years.

But occasional listening is really nothing compared to the experience of learning, singing and living with this masterpiece over several months. It's one of those special pieces, I think, in which the composer was simply inspired from start to finish--inspired to write beautiful and inventive harmonies, haunting and ravishing melodies, and to capture the text with absolute perfection. Consider the perfectly brooding "Requiem aeternam" that, at the very start, seems to bring us to death's doorstep, leading us right into a lovely but elegiac Kyrie. Then comes the whispering, almost ghost-like alto and tenor duet in the Offertory, with harmonies that sound distinctly modern yet timeless. Then the above-mentioned Sanctus momentarily raises the spirit and leads to the famous Pie Jesu that mixes loveliness and solemnity in appropriately equal proportions.

Next is my personal favorite, the Agnus Dei section; I wonder how many feel the same. It seems to be a whole mass in itself, with its beloved and beautiful obbligato intro, its melodic main theme (I'm happy that the tenors got it) and the ensuing chromaticism in which Fauré explores the depths of the text--all ending with that obbligato theme. Then, in the Libera Me, we seek liberation from death in a deep baritone, leading to Fauré's "touch" of a Dies Irae section with its driving beat and insistent plea. Finally, using a text from a liturgical prayer not found in the standard Requiem Mass, Fauré creates what seems to be the perfect "stairway to heaven." With its steady, flowing arpeggios, and its most gentle yet slightly mysterious melody, it seems to say, "if you've gotta go, this is your exit music, this is what angels actually sound like when they sing you to final sleep."

So that's a mouthful, and apologies for any excess. But to me there's nothing like this piece. It's a genre to itself. Innovative and accessible, gentle and powerful, I feel sure that it moved all of us one way or another. I personally thank our maestro (and my fellow choir members) for the unforgettable experience of communing with it over the course of four months! And a THANKS to all those who worked so hard to make the concert turn out well. On to Mozart and Handel for Christmas!