“Both Cardiff University and the city itself were so fulfilling and gave me opportunities that I never had at home. I loved my time in Cardiff and feel like it has shaped who I am for my future, both for my career and in my personality.”
Congrats to Cathy, music graduate and member of the BBC National Chorus of Wales, on her First Class Honours.
Hi Cathy! Thanks for chatting. What did you enjoy most about your time in Cardiff?
I enjoyed the vast variety of activities I was able to be involved with and experience with my friends, such as regular concerts, operas and plays.
I can imagine that the city offered you a lot musically. Do you have a favourite memory?
One particular concert sticks in my memory as a favourite experience while at Cardiff. In my second year, the Cardiff University Symphony Chorus, which I had been a member of since my first week, joined with instrumental forces from the Royal Welsh College and Drama to perform Verdi’s ‘Requiem’ in St David’s Hall. The piece is phenomenal and the accumulation of such hard work put in by both students and staff produced a real breath-taking performance.
What else did you get up to?
As a music student, there are many extra curricular activities to be involved with. I was a member of Cardiff University Symphony Chorus, Chamber Choir and Contemporary Music Group. I was also a singer with The Palestrina Singers of Cardiff University and became choir manager which I very much enjoyed. I successfully managed the choir’s week to week rehearsals and activities along with seven concerts during the year and a tour to the South of England (Guildford, Portchester and Romsey) during June 2014. I loved both the social aspect to singing with the choir and the challenges that came with organising it.
I was also a member of the BBC National Chorus of Wales for three years, holding a student scholarship for the year 2013/2014. I also volunteered at the New Theatre and casually had work at the Millennium Stadium, through the Union JobShop.
You busy bee! How easily did everything fit alongside your studied?
Time management is an essential skill. University work had to be my highest priority and doing it in advance (rather than the night before) was definitely preferred. Other than that, finding time to just have some time off was difficult but I found great enjoyment in the activities I did.
Did you face any particular challenges during your university life?
The hardest challenge I faced was fitting in with the people in my accommodation in first year as I lived with six boys and only two other girls. I felt it was difficult to be myself but found comfort in friends on my course and discovering people with the same interests as me.
What’s next for you, Cathy?
I am moving to London to study for an MA in Art Policy and Management at Birkbeck College, University of London.
What are your thoughts on graduation?
Excited but with a sense of nostalgia. As the majority of my close friends are remaining in Cardiff, I am still feeling a little apprehensive about leaving the city where I have spent the last three years of my life. However, I am very excited about beginning the next chapter of my life and feel graduation will provide me with the opportunity to say goodbye to a place I have grown to love and people I will miss greatly and a happy conclusion to my undergraduate degree.
Do you have any advice to future students?
Try and make friends on your course as well as in your accommodation. This has seemed pretty easy in the School of Music as such a small school with plenty of activities to be involved in and meet new people. However, I understand it is difficult in larger schools with many courses and students in one place.
Budget your money! I had minimum maintenance loan which hardly covered rent let alone cost of living. Budget your money and keep an eye on the non-essential spends.
And make the most of the city and surrounding area. It is a busy, metropolitan city with plenty to do, surrounded by gorgeous countryside and magnificent beaches. Don’t overlook it and try and explore.
Sound and/or video recordings are not permitted
WEDNESDAY 11 JUNE
9.30 Daniel Greene (piano)
Works by Schubert, Messiaen and York Bowen
10.05 Christopher Gibbons (clarinet), Sue Bird (piano)
Works by Stanford, Widmann and Poulenc
10.40 Jessica Segelov (piano)
Works by JS Bach, Schubert and Debussy
11.25 Joshua Betteridge (guitar)
Works by Dowland, Walton, Villa-Lobos and Brouwer
12.00 Bel Si Hui Chiew (violin), Soon Kun Ming (piano)
Works by Corelli, Kodály and Smetana
12.35 Jonathan Bentley (guitar)
Works by JS Bach, Villa-Lobos, Falla, Ohana and Albéniz
2.15 Rhiannon Braddick (flute), Jan Ball (piano & harpsichord)
Works by JS Bach, Enescu and Godard
2.50 Gwenith Evans (voice), Andrew Wilson-Dickson (piano & harpsichord)
Works by JS Bach, Gluck, Mozart, Schubert, Berlioz, Granados, Elwyn-Edwards and Dove
3.25 Flora MacDonald (voice), Andrew Wilson-Dickson (piano & harpsichord)
Works by Handel, Mozart, Schubert, Schumann, Massenet, Warlock, Lorca, Dove and Offenbach
4.15 Isobel Clarey (voice), Andrew Wilson-Dickson (piano)
Works by Rameau, Haydn, Poulenc, Britten, Gershwin and Novello
4.50 Bryony Doyle (voice), David Thomas (piano)
Works by Mozart, Schubert, Granados, Bizet, Barber, Sondheim and Walton
5.25 Catherine Mottershead (voice), David Thomas (piano)
Works by Handel, Mozart, Gurney, Poulenc and Johann Strauss II
6.00 Jessica Cale (voice), Jeff Howard (piano)
Works by Handel, Mozart, Schubert, Mahler, Britten and Flanders & Swann
THURSDAY 12 JUNE
9.30 Harriet Jenkins (piano)
Works by JS Bach, Debussy, Scriabin and Montague
10.05 Joshua Ruck (cornet), Donna Dickinson (piano)
Works by Kreutzer, Jenkins and McDowall
10.40 Jack Lewis (trombone), Robert Court (organ) Daniel Bickerton (piano)
Works by Cesare, L.Mozart, Guilmant, Castérède, Cage, Rabe and Bickerton
11.25 Jessica Haig (voice), Robert Court (piano)
Works by Handel, Schubert, Massenet, Rodrigo and Tann
12.00 Elia Berdala Gil (violin), Christopher Williams (piano)
Works by Corelli, Mozart, Franck, Falla arr. Kreisler
12.35 Myfanwy Dymond (violin), Christopher Williams (piano)
Works by Corelli, Brahms, Bartók and Pärt
2.15 Rhys Batt (voice), Christopher Williams (piano)
Works by Finzi, Bizet, Liszt, Britten and Rossini
2.50 Kirsten Shepherd (violin) Christopher Williams (piano)
Works by Handel, Genzmer and Franck
3.25 Joanne Huxton (French horn), Rhiannon Williams-Hale (piano)
Works by Mozart and Dukas
4.15 Sam Hickman (voice), Sharon Richards (piano)
Works by Handel, Purcell, Massenet, Schoenberg, Strauss and Mozart
4.50 Alice Gunn (voice), Sharon Richards (piano)
Works by Mozart, Brahms, Bellini, Gounod, Massenet, Quilter and Obradors
5.25 Edward Parks (voice), Daniel Bickerton (piano)
Works by Handel, Schumann, Britten, Poulenc and Turnage
6.00 Sarah Berbilllion (voice) AN Other (piano)
Suzy joined in rehearsals of Handel’s Messiah late last year with the Chamber Choir, Swansea Bach Choir, and The Little Baroque Company.
The episode is still available on BBC iPlayer - the Messiah rehearsal starts about 28 minutes in!
The student-run Music Society organises free Lunchtime Concerts on Thursdays during the academic year to give students opportunities to take to the stage regularly. The concerts give valuable experience to all involved, whether as performers or accompanists.
It’s become something of a tradition for final-year undergraduates to give a group performance – an extravaganza as it’s billed in the programme – at the final Lunchtime Concert of the year. This year our talented cohort of third-years chose Bohemian Rhapsody…
Kate Willetts, 2nd year BA Music
As the final week in March approaches, Cardiff University Operatic Society are gearing themselves up to face their biggest challenge to date. After months of planning and hard work, they are taking on Mozart’s classic fairytale The Magic Flute, and they mean business.
Over the past three years they have grown in strength and numbers, tackling operas such as Gilbert and Sullivan’s The Mikado in their first year, Pride and Prejudice (a brand new work based on Jane Austen’s classic novel) in March 2013, and performing countless opera favourites in gala concerts, their last outing in Cardiff being a very successful Opera Through The Ages concert at the end of November 2013.
In this short space of time, they’ve not only shown themselves to be diverse in their approach to operatic styles, but also ready for a challenge and, most importantly, dedicated to promoting the operatic genre in all of its eclectic glory.
The Magic Flute is an opera in two acts, which follows the story of Papageno the bird-catcher and Prince Tamino on their quests to find true love and enlightenment. Its charming characters, memorable score, and wonderful moments of comedy have cemented it as one of Mozart’s best-loved works; a joy for performers and audience members alike!
Despite its light-hearted facade, this opera contains some particularly demanding music, with vocally challenging parts across all roles (from the soaring Queen of the Night arias to the impressive choruses); that a cast of young singers should attempt this work is a huge risk (especially for a student-run society in its early stages), but CUOS were up for the challenge and, what is very apparent, is that they have the singers and the production team to pull it off in style.
One of the most prominent features of the Operatic Society’s production of The Magic Flute is its concept; drawing on the continued popularity of The Wizard Of Oz story, the company has explored the similarities between the land of Oz and the unspecified land that the characters of the opera inhabit, in order to create an extraordinary dream-world that aims to highlight the pull between the reality and the fantastic. Here, the high priest Sarastro represents the all-powerful, grandiose nature of the Wizard, whilst the Queen of the Night occupies the more mystical and magical side of Oz. Throughout the production, the traditional fairytale elements are juxtaposed with a more abstract interpretation of the opera (with some wonderful moments of stylised movement and a more modern approach to costume design) which results in a refreshing amalgamation of styles and ideas.
With both the familiar and the uncanny in equal measure, there is something for everyone to enjoy in this interpretation.
The CUOS team – from the cast, crew, and orchestra, to every single person working behind the scenes – have a truly fantastic show on their hands. Who knows what the future may bring for this fledgling society, or what new projects they have in store; for now, they are looking forward to revelling in the excitement of a brilliant show, with both the prospect of spreading their appreciation of opera to a new audience, and being able to look back on this time and pinpoint the moment when this society really learned how to fly.
Cardiff University Operatic Society’s production of Mozart’s The Magic Flute is running from 28th-29th March at The Gate Arts Centre, Keppoch Street, Roath.
Tickets are available from firstname.lastname@example.org, cardiffstudents.com/cuos or by calling on 07752 341 834
Interviews with two of our undergraduate students featured in a new BBC Radio 4 documentary this week. The documentary portrait of West African dancer and choreographer Idrissa Camara included his current work as director of Lanyi, the School of Music’s African student dance and drum ensemble.
Students Anton-Jari Desai-Paulden (BSc Physics with Music) and Phoebe Greenland (BMus) were interviewed about Idrissa’s teaching methods and what they have learned from their experiences with Lanyi.
Ethnomusicology lecturer Dr Amanda Villepastour also featured in the documentary.
Lanyi means “gathering” in Idrissa Camara’s first language, Susu. It is the School’s first African music and dance ensemble, established to give students experience in singing, dancing and playing a range of instruments from the Mande world in West Africa.
Lanyi will give a free concert full of dancing, drumming and high spirits at the School’s Concert Hall on Saturday 29 March 2014.
BBC Radio 4 portrait on Idrissa Camara: http://www.bbc.co.uk/programmes/b03w0200
Ballet Nimba, Idrissa’s Guinean music and dance company: http://www.balletnimba.org.uk/
Rosemary de Jong, BA Music and English Literature (3rd year)
Saturday 15 February 2014 saw the return of the highly anticipated annual UniBrass competition. The contest, founded in 2011 by pioneering students of Lancaster University, and this year hosted for the first time by the University of Warwick, is the world’s only inter-university brass band competition.
Each participating band performs a twenty-minute programme, individually chosen and choreographed, to adjudicators and an audience. The performance is judged by the adjudicators on entertainment value and musical prowess.
The adjudicators this year were Mike Fowles—one of the leading brass band conductors of his generation who has worked with many top bands in the UK including Leyland, Fairey, Hepworth and Foden’s—and Tom Davoren, who has rapidly developed a reputation as an exciting young brass composer and also conductor working with the BTM Band and Filton Concert Brass.
With such eminent names determining our position, Cardiff University Brass Band prepared for the competition with new musical directors David Langley and Andrew Mitchell, hoping to keep our good standing. Since the competition began we have been ranked consecutively in 3rd, 5th and 4th place.
The event began for Cardiff University Brass Band on Friday 14 with an informal performance of our programme in our own Concert Hall. An encouraging turnout from students and lecturers gave us a brilliant send-off, from which we jumped into minibuses and made our way to Coventry. The draw of the contest meant that we played to the judges at 11am on Saturday.
Our programme, entitled ‘Modern World, Modern Music’, included only music that was written in the last five years. Cardiff University has a reputation in the competition for exploring music which is contemporary and exciting. Our programme opened atmospherically with ‘Sunrise’ by Swedish composer Magnus Hylander. In this piece, an evocative pianissimo opening with a flugelhorn feature, played by Benjamin Atkinson, gave way to a rousing, almost Celtic, setting of the main theme.
This was followed by ‘Castell Corbett’, a march written by our very own tuba player and former musical director, Martin Humphries. Following this, our solo feature was ‘Scene from a Silver Plate’ by Peter Meechan, played by our principal trombonist Elan Higueras. Our programme closed with ‘Fanfare for the Future’ by Andrew Stevenson.
Tension and friendly rivalry mounted throughout the day until the results were given. The judges took some time to come to a decision, but the outcome was worth the wait.
Only seven points behind the winners, Cardiff were awarded fifth place and retained the title of Welsh Champions. In first place was Huddersfield, in second place Manchester, in third place York. ‘Best Solo/Feature’ went to Sheffield. Warwick received the prize for the ‘Best March’, and the ‘Most Entertaining’ award went to York. Durham took home awards both for the ‘Most Improved’ band and the ‘Best Original Composition/Arrangement’ with a piece which featured narration entitled ‘The Lambton Worm’ by Dave Collins.
A celebration ensued, the proceeds of which went to Brass for Africa, a charity that – founded in 2009 with the donation of thirty second-hand brass instrument – uses music to empower and to support disadvantaged children and their communities in Uganda and Liberia.
All the bands that entered put in a huge amount of preparation and hard work. Part of what makes UniBrass so unique is that, although each band wants to do well, it is equally rewarding to witness the growth of brass bands in each represented university. The improvement in quality of performance and musicality from year to year is what makes UniBrass so worthwhile.
After a successful three year stint on the London’s west end and a transfer to Broadway, Priscilla Queen of the Desert’s next stop on its UK tour began in Cardiff on Tuesday.
Based on the 1994 Australian film, The Adventures of Priscilla, Queen of the Desert, starring Terrence Stamp and Hugo Weaving, the musical follows two drag queens and a transsexual woman’s journey through the Aussie outback in a bus named ‘Priscilla’ – what’s not to love?
Jason Donovan, who originated ‘Tick’ on the west end, reprises his role in the production and brings warmth and compassion to the part of the drag queen who desperately tries to build a relationship with his young son. Aside from the camp madness of the show, mostly brought on by drag queen ‘Felicia Jollygoodfellow’, there are some really heart warming and touching moments, clearly showing the musical has a heart. There was not a dry eye in the house when it came to Donovan’s rendition of ‘You were always on my mind’ for his son.
Richard Grieve was pretty convincing as transsexual Bernadette who provided witty and downright hilarious remarks throughout the evening, and when joined by the powerhouse vocals of the three divas, were the true stars of the evening.
The theatre is transformed into a disco for much of the show and features hits such as ‘I will survive’, ‘I say a little prayer’ and ‘Girls just wanna have fun’ so it was impossible to resist singing along to! These hits, equipped with incredible costumes, secure Priscilla as possibly the best feel-good trip to the theatre you are ever likely to experience!
Full to the brim of glitz, glamour and camp fun, Priscilla is the perfect way to kick away the January blues!
Priscilla Queen of the Desert is at Wales Millennium Centre until Saturday 18th January 2014
Review written by Jordan Nicholls (BMus, Year 2).
Singin’ In The Rain’s second stop on its nationwide tour landed in Wales Millennium Centre on Tuesday.
Direct from its successful stint on the West End, Singin’ In The Rain is based on the 1952 film which tracks the journey from silent to sound films in 1920s’ Hollywood.day night and is an event not to be missed this Christmas!
It is quite easy to forget the main plot when considering the work due to the iconic Gene Kelly scene; however, the musical re-establishes the importance of the story and the principles it holds in history.
Despite some of the scruffy transitions, the production’s set was a sight to behold throughout the evening, capturing the electric essence of Broadway to the bustling studio of ‘Monumental Pictures’. The orchestra’s place on stage, elevated above where the action was taking place was a bonus and really contributed to the musical drama taking place on stage; however, they were hidden by the set for quite a bit of the performance which was a tad disappointing considering they are also typically hidden in the pit.
Faye Tozer, of pop band Steps fame, took on the role of squeaky high-pitched airhead, Lina Lamont and provided comedic relief throughout the evening. Although her acting was a little over the top in places, her number ‘What’s Wrong With Me?’ was sheer laugh out loud value.
The audience were left in awe of the sheer energy and stamina the three leads held throughout the evening, calling for seven minute tap dancing scenes to intimate love scenes. The relationship between Kathy and Don really clutches at the heart strings and provides an emotional depth to the madness of the 1920s’ film studio.
The true highlight of the evening was James Leece’s powerful portrayal of Don Lockwood, who is barely off stage for the two and a half hours, which oozed all the charm and charisma of Gene Kelly. The iconic scene whereby Don celebrates his love for Kathy in the rain was not an imitation of the 1952 film’s scene nor overrated but allowed Leece to give his own take of the scene.
Despite containing one of the most iconic scenes in history, don’t go expecting a tribute act to Gene Kelly; the musical is far more than that it has a very poignant story with foot-tappingly good musical numbers. After seeing Singin’ on Tuesday evening it is very easy to see why Singin’ still remains one of the greatest American films today.
Singin’ In The Rain is at the Wales Millennium Centre until 5th January 2014.
Review written by Jordan Nicholls (BMus, Year 2).