On Saturday 2 March 2024 the annual St David’s Day Gymanfa Ganu, organised by Melbourne Welsh Church, was held in a new venue – St Paul’s Cathedral. Not only was there plenty of space for the six choirs involved but the usual Welsh community was augmented by curious bystanders, locals and tourists.

After the Australian National Anthem, welcoming addresses were made by Canon Robert Vun, Rev. Siôn Gough Hughes and the British Consul General Mr Steph Lysaght.

Ten Welsh hymns were sung by the whole congregation, entertainingly and energetically led by the Welsh guest conductor Jeffrey Howard.

The Australian Welsh (MD Tom Buchanan OAM), Melbourne Welsh (MD Mitchell Meyer) and Victoria Welsh (MD Faleiry Koczkar OAM) male choirs were also conducted by Jeff in rousing renditions of Rachie and Gwahoddiad.

The combined Geelong Welsh and Mornington Peninsula Welsh ladies choirs were conducted, firstly, by Tom in the Yorta-Yorta language Bura Fera and, secondly, by Jeanette John with Calon Lân. The community choir Excelsis was also conducted by Tom with an arrangement of The Lord’s Prayer sung in the Phillipines language llocano.

Interpolated between this program were four outstanding solos and a beautiful duet by soprano Heulen Cynfal (Blue Riband National Eisteddfod 2023) and by mezzo-soprano Ceri Haf Roberts (Blue Riband winner 2022).

Rev. Siôn Gough Hughes gave the vote of thanks to everyone involved in this magnificent event and asked retiring Victoria Welsh Choir MD Faleiry Koczkar to conduct the whole assembly in the Welsh National Anthem which very fittingly and emotionally capped off the day.

Drew introduced our next two soloists who had been guest performers at many past choir concerts. Rhonda Yates’ soaring soprano voice enchanted everyone with Ivor Novello’s Waltz of My Heart before Melinda Ash stepped up to coquettishly sing

I Want to be a Prima Donna from the comic opera The Enchantress. Rhonda came back and introduced the Flower Duet from Delibes’ Lakmé which they exquisitely performed with wonderful timing and sensitivity to much acclaim.

The next Welsh bracket was conducted by Jeanette John as our guest from Geelong Welsh Ladies Choir, accompanied by our Ballarat accompanist Mary O’Driscoll. Firstly, the climatic Aberystwth (reflecting the town of Faleiry’s childhood), the lullaby Si Hei Lwli ‘Mabi (which was only partly successful in calming a baby in the audience) and the hugely emotional Anfonaf Angel (I Will Send an Angel).

Then it was time to welcome our guests Bhán Tré, the Melbourne Celtic band comprising Sue Foley, Geraldine Davis and Rebecca Humphreys as they lifted up the tempo and got everyone clapping spiritedly especially on Whiskey in the Jar. To finish, Sue sang the verses of Loch Lomond with the choir and audience enthusiastically joining in with the chorus.

The final bracket consisted of the classic Myfanwy with the first verse oohed by countertenor Michael Gooey before the choir came in with the words. A more successful outcome, romantically speaking, came in the next love song Rhieingerdd before the choir celebrated its love of Cymru (Wales) in Gwinllan a Roddwyd I’m Gofal  (A Vineyard Given to my Care) with baritone Roger Bartlett singing the first verse before the choir joined in to help him protect the old country.

After interval, Roger again appeared to set the scene with Little Welsh Home before Melinda beautifully led the choir in celebration of the homeland in Cartref (Home).

Faleiry took the mic to explain why we were now going to attempt a TTBB arrangement of the famous Hallelujah Chorus in honour of Ann and Colin Roberts’ daughter Jessica (whom Faleiry had once taught) who had passed away two years ago. At the very mention of the chorus some of the audience just had to stand, despite Drew giving people with dodgy knees a free pass. To some surprise but with a great deal of pleasure, the choir successfully got through the tremendously challenging piece, more or less intact and this was rewarded with furious applause.

Faleiry then spun around in her special stool to address the assembled company as she spoke about her 30 years as Musical Director. She thanked the Welsh Church for bringing out guest singers and guest conductors from Wales, and how, in some cases, we were able to use their talents in our St David’s Day concerts, which benefitted her and Lorna and the choristers tremendously. She then thanked the audience for coming not only today, but over the years. Asking for people to stand up if they’d been following the choir for very long, she found that there were at least half a dozen people in the audience who had been doing so for all of those 30 years. She thanked her music team for their commitment, musicality and friendship over the years and, of course, she thanked all the choristers who had been through the choir ranks over the same period. She especially mentioned Ross Hartnell (whose brother Peter was in the audience), who was instrumental in revitalising the choir with the famous mission statement in the 90s and paid tribute to him and subsequent presidents also mentioning the present incumbent Tony Davies.

Bass Bob Ash then stepped forward to render Eric Bogle’s famous song Shelter. Always a heart-grabbing song at the best of times but more poignant today as Bob was also retiring after more than 27 years. Sustained applause and flashes of tissues deservedly followed. Drew returned to announce the last bracket, which comprised the majestic

St Clement, Dashenka (The Gypsies) with coconut accompaniment by Geoff Roberts. As they clip-clopped into the sunset, Rhonda took the other kind of lead with the emotional welcoming song Unwaith Eto’n Nghymru Annwyl (Once Again in Dear Wales) and which reminded quite a few choristers of when that was sung to them at the National Eisteddfod in 1999.

At this stage Drew asked all ex-choristers to come up on stage and about a dozen did so and were warmly welcomed back into their respective sections by old colleagues and friends. With everybody assembled, the augmented choir launched into the classics Calon Lân (A Pure Heart) and Rachie to great acclaim.

President Tony Davies then invited all guests to come back on stage for appropriate presentations. All the ladies (including our Bendigo accompanist Liz Paton) received a toiletry gift bag and Bob a bottle of wine. Carefully chosen musical motif brooches were presented to Jeanette, Lorna and Faleiry. Tony also presented her with a mother of pearl inlay box inside of which was an inscription in Welsh translated as “Thank you very much for leading Cantorion Cymreig Victoria Welsh Choir for 30 years.” He also gave her a certificate, announcing that the choir had elected her Musical Director Emerita, as there was no doubt there would be times in the future we might have to call on her and she has made it clear that she is always there for us as the choir moves onwards. Tony then spoke about her legendary commitment referencing the times going back 25 years when she and George used to go up to the Bendigo branch every fortnight and then, later, every week. He also mentioned her zeal and tenacity in taking the choir to the National Eisteddfod in 1999, and again in 2004 when we received a 3^rd prize, to compete against Wales’ own best, male choirs.

With everybody on stage, the grand finale was, of course, to be the amalgamated anthem. Drew sang the first verse of Hen Wlad Fy Nhadau before being answered by Rhonda and Mel with the first verse of Waltzing Matilda before the choir and audience split, simultaneously singing both sets of words. The concert then came to a fitting end with a standing ovation and Faleiry’s family coming up on the stage for a group photograph and others simply wanting to thank her for all her years, and for the pleasure that the choir had given them.

In the bar afterwards choristers gathered around Faleiry to sing some special lyrics, thanking her for her leadership – it was tenor Michael Gooey’s initiative to write the words (sung to the tune of Myfanwy) with the Welsh having been polished by Ballarat member Gareth Jones’s father back in Wales.

Afterwards there was a final celebration as past and present choristers and friends joined Faleiry and Lorna at the Glen Waverley RSL for a farewell dinner and, of course, inevitably, a final sing down. All in all, it was a remarkable day, full of song, joy , love and emotion for all concerned.

Tony Davies

27 February 2024

Audience Comments 

• The choir and guests were really good. There was obvious joy throughout the theatre – a very special occasion.
• My late brother Ross was an active member of the choir until his death in 2000.He was very involved in the choir’s visit to Wales in 1999. Thank you for a wonderful day and my best wishes to Faleiry for a well-earned retirement – Peter Hartnell
• My phone has hardly stopped ringing since last Sunday about the way our friends enjoyed the singing and playing.  One friend from Victoria Chorale and ex-Ashton Smith Singers said he and his wife were very pleased they attended. The Celtic group was also pleasing but for me the soprano duet of the Flower song by Delibes was brilliant - Geoff
• Friends reported that the auditorium, sound quality and sight of the stage was excellent and enjoyment level of the concert was very high. My daughter said it was very moving and she had a few tears when the retired choristers came down to sing on the stage - Janet
• Some friends of mine saw the choir for the first time and they were impressed.
• Brilliant – Hallelujah Chorus was fabulous - Please, please don’t delete the Hallelujah Chorus from the Choir’s repertoire! – Wendy
• Best concert I’ve ever been to – Jan

Vale Bill Denholm

28 May 2023

He had celebrated his 98^th birthday with his family on 17 May, and on Saturday 20 May the choir had surprised him with a mini concert at Camberwell Green, a report of which appears below.

At his funeral, our President Tony Davies spoke about how Bill had transformed our computerised learning aids by his introduction of Noteworthy and his work on our sound system, and the choir sang three songs selected by his family: What Would I Do Without My Music followed by Roger Bartlett and the choir on You’ll Never Walk Alone and finishing with Hen Wlad Fy Nhadau.

Roger’s very thoughtful and very apt choice of his a cappella solo at Bill's mini-concert, The Parting Glass, gives us exactly the right words to farewell our great friend:

Of all the comrades that e'er I had
They're sorry for my going away
And all the sweethearts that e'er I had
They'd wish me one more day to stay
But since it falls unto my lot
That I should rise and you should not
I gently rise and softly call
Good-night and joy be to you all.

On 17th June an obituary was published in The Age describing Bill's "distinguished CSIRO career as a metallurgist".

• Just brilliant. Excellent.
• One of the most pleasurable afternoons I’ve had in years. Dorothy
• Thank you for performing for the Leighmoor Church and friends.
• Brilliant – Loved it all! Such wonderful talent.
• Loved every minute of the performance.
• Being ½ Welsh, (2 Welsh-born Grandparents), couldn’t believe how Welsh I felt. Loved every moment and shed a few tears. Thank you.
• Fantastic concert, keep up great work.
• Thank you for your beautiful music and incredible performance.
• Wonderful as usual. jkn 01.
• Much appreciated, brilliant performance.

The ebullient venue MC, Chris McKenna, introduced Musical Director Faleiry Koczkar, Associate MD Rushan Hewawasam and accompanist Lorna Ogilvie before the packed hall rose for the Welsh National Anthem, followed by the classic Cwm Rhondda, Calon Lân and Gwŷr Harlech with the audience enthusiastically joining in with the choruses.

There were fine solos by John White on Pacem, by Tony Hosemans on Danny Boy (with plenty of backup singers from the hall), from Barry McMahon on Wild Mountain Thyme and by Geoff Roberts on Green Green Grass of Home. And a very fitting duet for the day came from Drew Hopkins and Rushan with the tale of ‘Annie Moore from Ireland who was only fifteen years’ in the song Isle of Hope, Isle of Tears by the famous Irish songwriter and novelist Brendan Graham who also penned You Raise Me Up.

A rollicking When The Saints Go Marching In, with everybody singing along, set up the vibe for the day. The organiser was very happy saying ‘We couldn’t have started off the festival in a better way than with the VicWelsh’.

So Sláinte and Iechyd Da in anybody’s language!

Lancefield Mechanics Institute

Back again after more than four years, it was gratifying to see the hall once again packed with local supporters from the combined parishes of Lancefield and Romsey.

After the Welsh National Anthem – Hen Wlad Fy Nhadau (Old Land of my Fathers) Echuca-based chorister and compère Garry Salisbury introduced the music team of Faleiry Koczkar, Rushan Hewawasam and Lorna Ogilvie and invited the audience to join in singing some of the choruses in the opening bracket which consisted of the beauty of Cwm Rhondda, the lost love of Myfanwy, the purity of Calon Lân and the steadfastness of Gwŷr Harlech (Men of Harlech).

Local entertainer David Allan performed four songs including John Denver’s Back Home Again with plenty of audience and choir participation singing along to this well-known tune.

The choir’s chaplain – and Romsey resident – Rev. Tom Morgan paid homage to his old school chum, the deceased Laurie Thomson who had astonishingly recited from memory the 120-line Henry Lawson poem The Fire at Ross’s Farm at our last concert here in November 2018. This time Tom read the 52-line C J Dennis poem An Old Master and sang the Luton Girls’ Choir version of The Lord’s Prayer to great acclaim.

Other choir soloists were John White on Pacem (Peace), Drew Hopkins on Diolch I’r Iôr (Thanks to the Lord) and Roger Bartlett on Gwinllan (A Vineyard).

Patron feedback included:.

St Michael's Church

Patron feedback.

• Wonderful performance / loved every minute. Absolutely loved performance of ‘Pemulwuy’ and the audience response!! Congrats Faleiry on your return & to everyone who took part!!
• Lovely to see Faleiry back on the podium. Orchestral instruments were a plus. Thank you to everyone who took part.
• All Great!
• Marvellous to have Faleiry back again. Her duet with Rushan was DIVINE.
• utstanding choir. Enjoyed all aspects from the Music Team, the soloists at the last part of the concert, the 2 MDs. Made my day.
• Lovely to hear Faleiry sing and play her harp, and duet with Rushan was excellent.
• The choir’s rendering of Myfanwy and Calon Lan was magnificent, such beautiful harmony. I also enjoyed Rushan and Faleiry’s duet with the harp.
• Fantastic experience – the whole thing a real thrill, very moving.
• I always think each concert has been the best ever, this one is no exception. Fantastic, brilliant. Wonderful.
• Variety today was great- Orchestra and Trio.
• Professional, inclusive, cultural diversity. Glad we brought our Italian and Scottish friends. Thanks. Variety today was great- Orchestra and Trio.
• Beautiful singing from the choir. 
• The solos and the duet with Faleiry and Rushan were excellent. 
• Orchestral backing was great. 
• Great venue and acoustics. Drew as compere.  

The following feedback is an email to Tony Davies from Euan Thomas:

I just want to thank the choir for a wonderful afternoon yesterday. My daughter, Siobhan loved hearing the songs in Welsh and is determined to learn the language, which is interesting as she’s a real mixture, her Mum is Chinese Malay mixed with my background of Welsh and Irish.

Email to Tony from Sue Foley, Bhan Tre:

Wow, what an afternoon for music. My friends who came loved it. You guys are amazing. We loved being part of the afternoon & thank you sincerely for the invite. See you on March 17^th.  Sue.

20 August 2022

It had been four years since the Lavington Lions Club had hosted a VicWelsh concert and this time they had chosen the eminent St Matthew’s Church in Albury with its high-vaulted ceiling, incredible acoustics and the wonderful Canadian Létourneau pipe organ, installed for the 1994 re-opening of the church after the disastrous 1991 fire.

Processing into the church while singing Men of Harlech and with the audience joining in with the English verses, got the concert off to a great start. This was immediately followed by a Welsh medley comprising We’ll Keep a Welcome, Hymns and Arias, Calon Lân, Myfanwy and Cwm Rhondda with patrons eagerly singing the last Songs of Praises verse.

Compère Tony Davies welcomed everybody and introduced the music team of Associate Musical Director Rushan Hewawasam, accompanist Lorna Ogilvie and Bendigo chapter accompanist and organist Elizabeth Paton.

The first bracket introduced two new songs to the choir’s repertoire – For the Beauty of the Earth and Nant y Mynydd (Mountain Stream) with the first verse mellifluously sung by a trio of Bendigo members – Ivan Ryall, Norm Bateson and Ken McMullan. This was followed by the classic Blaenwern with the first opportunity to hear the magnificent tone of the organ.

Tony mentioned that a retired chorister Moelwyn Hugh Jones (the only chorister who had actually worked as a coal miner) had recently died at 91 years of age and, in memory of him, his friend Barry McMahon stepped forward to sing Moelwyn’s ‘signature tune’ Working Man which was received extremely warmly.

The organ, deftly played by Elizabeth, again featured in St Clement and Tydi a Roddaist, sandwiching the very touching Rhys (Grant Me the Peace).

After the interval, Rushan showcased his powerful tenor voice, leading the choir in the moving South African call and response protest song Senzenina. This was followed by a love-of-country bracket with the well-known traditional Hiraeth (Longing) and Ar Lan y Môr (By the Sea) and the sunny O Gymru (Oh Wales).

Moving 110 years backwards in time and 3000 miles westwards in distance, Tony set the scene for a duo from tenors Geoff Roberts (stoker) and Tony Hosemans (radioman) as they skilfully and sensitively brought out the drama and pathos of their situation on the sinking Titanic on April 15 1912. Their performance, including Tony’s syncopated Morse code tapping, received sustained applause.

With a dedication to all frontline staff, the choir launched into the emotive Anfonaf Angel

(I Will Send an Angel) along with many heartfelt thoughts going to our Musical Director Faleiry, currently in rehab after some radical back surgery.

Then the début of the prayer Benedictus from Sir Karl Jenkins’ 1999 mass for peace, The Armed Man. With Elizabeth on organ, the piece was acoustically and stunningly transformed.

Finally, the baritone section confidently led the choir in the anthemic You’ll Never Walk Alone.

Our host Graham Jenkin stepped up to thank the choir and audience for their attendance for a magnificent musical event. In turn Tony asked everybody to acknowledge and thank all the choir soloists and the highly talented music team of organist Elizabeth, accompanist Lorna and MD Rushan.

The choir then stood to sing the Welsh anthem Hen Wlad Fy Nhadau interspersed with Waltzing Matilda and, to enthusiastic applause, the afternoon’s concert was nearly over, as the choir marched off stage singing Men of Harlech. However, rather than exiting the church, they surrounded the slightly bemused audience and quietly moved into the haunting Eli Jenkins’ Prayer or Sunset Poem from Under Milk Wood. As the choristers bowed their heads to the setting sun and hummed the final notes, everyone in the church silently acknowledged the immersive emotion of the power of a shared musical experience.

Feedback from the audience included:

Photo: Peggy Barker

After two years of cancellations due to Covid the Victoria Welsh Choir was delighted to again be able to celebrate St David’s Day, albeit three months later than usual, on Sunday 29th May. In our now traditional concert at the Elisabeth Murdoch Hall/Melbourne Recital Centre the choir displayed its rich Welsh repertoire in beautiful four-part harmony. This concert was made even more exciting as due to the pandemic and the resulting non availability of both our Musical Director Faleiry Koczkar and our Accompanist Lorna Ogilvie we were seamlessly led by our wonderfully talented ‘Alternative A Team’ comprising Associate Musical Director Rushan Hewawasam on the podium and Mary O’Driscoll as our accompanist (recently appointed to that role for our Ballarat chapter).

The excitement for the audience was no less palpable backstage and the choir got off to a traditional rousing start with Gwŷr Harlech after which compère Drew Hopkins welcomed the audience and introduced the “Welsh Medley”. Rushan and our pianist Mary O’Driscoll were blending easily into their roles to the delight of both the audience and the choristers. This bracket opened with We’ll Keep a Welcome followed by Hymns and Arias. We were delighted to be joined by David Hobson singing with us the first verse of another Welsh perennial Calon Lân (A Pure Heart). These were followed by the lovely Myfanwy and the bracket was closed with the ever popular Cwm Rhondda during which members of our audience had the opportunity to lift their voices in the chorus.

David, now supported by his very talented accompanist David Cameron, returned to introduce his opening song. He used his substantial repertoire to delight our audience with his initial three items: Nella Fantasia (In My Fantasy) a song sung in Italian from the film The Mission (1986), with music by composer Ennio Morricone and lyrics by Chiara Ferraù, followed by E la solita storia del pastore Lamento di Frederico from opera L'Arlesiana. His final item was an old favourite for many in the audience from the stage show Oliver, Fagan’s I’m reviewing the situation. Following these items the two Davids left the stage to sustained applause.

Our compère Drew Hopkins introduced the next bracket of three hymns, beginning with the newly learnt For the Beauty of the Earth. Following this we delighted the audience with two old Welsh favourites Rhys (Rho Im yr Hedd - Grant me the peace beyond all earthly knowing) and Blaenwern (Love Divine All Loves Excelling). As many are aware the singing of hymns in Welsh chapels was a vital part in the preservation of the Welsh language and heritage.

In a change of tempo but in keeping with our concert’s celebration of a Celtic heritage It was a pleasure to welcome the Celtic Group Bhán Tré, one of the first all-female Celtic bands in Melbourne. The band comprises Irish-born Geraldine Davis (vocals, guitar, bodhran, bouzouki) and Sue Foley (vocals, bodhran, tin whistle) and Rebecca Humphreys from Beechworth on fiddle. They opened their offering with Irish Ways and Irish Laws whose lyrics by John Gibbs tell a tale of Irish resistance to outside intervention. This was followed by another composition entitled By the Liffey Side. Their bracket closed by combining with the choir in Loch Lomond. Finally David Hobson closed the first half by taking the lead with another old time favourite How Great Thou Art ably backed up by the choir.

Following Interval the choir returned to delight the audience with beautiful and haunting songs celebrating Wales. Unwaith Eto’n Nghymru Annwyl (Once Again in Dear Wales) supported by David Hobson was followed by Nant y Mynydd (Mountain Stream) The first verse was beautifully sung a capella by four Bendigo first tenors - Norm Bateson, Rhys Parry, Ivan Ryall & Ken McMullan - and the bracket was closed with O Gymru (One Man's Love for Wales).

Our guest artist, David Hobson supported again by David Cameron, returned to the stage for his second bracket opening with Raglan Road an Irish love song that tells of how a man entering into a love affair against his better judgment with a girl he meets by chance walking along Raglan Road. He followed this with Hush-a-bye Mountain a lullaby which featured in a scene from Chitty Chitty Bang Bang (1968). David’s acting versatility in all musical genres was on display again as he used his tie as a prop to become the central star for Gilbert and Sullivan favourite I am a Pirate King (Pirates of Penzance), with Tony Hosemans taking up the role of his flag bearer with the Skull and Crossbones, backed by the choir.

Our Associate MD then introduced the beautiful Anfonaf Angel with delicate flute accompaniment by Bendigo chorister Nigel McGuckian. Rushan then expressly dedicated this item to all the first line health responders who have done so much over the past years during the pandemic. We followed this with You’ll Never Walk Alone featuring as soloist our own Roger Bartlett. Then it was time for David to take his guitar and tell the well-known fast moving tale of a Spanish Lady travelling about Dublin’s fair city. Choristers and audience alike enjoyed it, combining to produce synchronised clapping up to the final Olé!

Our afternoon of great entertainment concert was brought to a fitting conclusion with the now familiar clever pairing of the Welsh National Anthem (Hen Wlad Fy Nhadau) with Waltzing Matilda. This final item brought Rushan, Mary, David, Bhán Tré and the choir together on the stage and all alike enjoyed the generous applause of the appreciative audience.

After multiple postponements, the Echuca concert at the Paramount Theatre finally went ahead on 20 March.

Marching on stage to Men of Harlech, the expectant audience could hardly wait to join in with the English verses.  Local resident and member of our Bendigo branch Garry Salisbury welcomed the assembly before Faleiry led the choir through What Would I Do Without My Music, the patriotic O Gymru and the old favourite Cwm Rhondda which again gave patrons the opportunity to join in with the chorus.

Bendigo resident and internationally renowned soprano Merlyn Quaife took the stage to showcase her magnificent voice with three Puccini arias - Si, chiamano Mimi, from La Bohème, O Mio Babbino Caro from Gianni Schicchi, and Chi il bel sogno di Doretta, from La Rondine. The bracket ended with a technically brilliant Laughing Song, from Die Fledermaus. Sustained applause followed for both soloist and accompanist Lorna Ogilvie.

Associate MD Rushan Hewawasam came to the rostrum to conduct All Through the Night with Merlyn, the classic Amazing Grace and the beautiful Anfonaf Angel with sensitive flute accompaniment by Nigel McGuckian.

Merlyn’s next bracket stemmed from her time as a post-graduate student in Munich and her love for the language: Mozart’s Das Veilchen, Schubert’ Heidenroslein and Ach, ich fühl’s, Pamina’s aria from The Magic Flute, by Mozart. The audience’s appreciation of this performance could be simply expressed as Wunderbar.

Faleiry resumed her place to lead the choir through Ar Lan y Môr (By the Sea rather than By the Murray), Rhys and How Great Thou Art with a soaring solo by the hugely talented Merlyn, to complete the first half of the concert.

After interval, Rushan took over, conducting the choir in Morte Criste, Yfory (Tomorrow) accompanied by Nigel again, and the well-known Danny Boy with Merlyn, once again, showing her superb versatility in all musical genres. This was amplified by her passionate Don’t Cry for Me, Argentina, with Summertime and a wonderfully romantic medley of love songs. Patrons and choristers alike saluted her incredible voice, her diction, breath control, breadth of repertoire and sheer excellence – everyone had certainly fallen under Merlyn’s spell.

The final bracket came under Faleiry’s control with Speed Your Journey, the lullaby Si Hei Lwli ‘Mabi with a fine solo by the multitasking Garry and the passion of You’ll Never Walk Alone with a heart-stirring solo by Merlyn.

To finish off this remarkable concert – the choir’s first for 2022 – Australia’s quasi-anthem Waltzing Matilda segued into Wales’ actual anthem Hen Wlad Fy Nhadau with final contributions from Merlyn and Nigel on flute. The day’s marvellous musical experience was seemingly complete but the audience hadn’t had quite enough. To cries of More, More Faleiry teed up Lorna and the choir to perform an encore with the well-loved Calon Lân.

A pure heart – pure music.

Feedback from audience members included:

• Great singing. Good variety of songs. Excellent compere. Amazing work by conductor with severe back injury. Wonderful soprano. - Margaret 
  
• Excellent harmonies. Enjoyed the German songs, very good soloist. - Pam 
  
• Marvelous, marvelous. A lovely concert with a broad musical feast of favourites. The harmony singing was glorious. Keep on keeping on. - Leslie (ACT visitor)
  
• Lovely to hear live music again. Soloist Merlyn was beautiful. Keep singing the well-known tunes. We love joining in. - Helen
  
• Very enjoyable. - Cath 
  
• Amazing – Amazing Grace very special music. Really enjoyed the afternoon. Well done Nigel McG! Enjoyed Merlyn. Beautiful. Always enjoyable.

The choir and congregation were next treated to a bracket of organ solos by resident Parish Musician Alexander Scutt. Intricate arrangements of All Through the Night (Welsh tune), Shenandoah (American) and On the Street Where You Live ( Alex’s homage to the Covid restrictions) were warmly received.

The choir then rose to sing Morte Criste and Speed Your Journey (from Nabucco) before Bendigo second tenor Garry Salisbury sang the first verse of the a capella lullaby Si Hei Lwli ‘Mabi.

Drew then introduced the last bracket and Rushan took over once again with Yfory (Tomorrow) and Anfonaf Angel ( I Will Send an Angel), both sensitively accompanied by Nigel. Faleiry took back the baton to conduct How Great Thou Art with a fine solo by the third Bendigonian of the day, baritone Barry Leviny. He also claimed another record by being the first chorister to sing his first solo at his very first concert.

Glynis Rose (organising churchwarden and also a chorister’s wife) presented Alex Scutt with a gift for his important contribution to the concert and thanked VicWelsh for their performance which was heartily endorsed by the audience.

The final number started as Waltzing Matilda before segueing into the Welsh National Anthem Hen Wlad Fy Nhadau, culminating in half the choir singing the Welsh and the other half leading the audience in Matilda.

To cries of “More” the choir moved offstage to Men of Harlech before surrounding patrons to sing their farewells with the haunting Sunset Poem from Dylan Thomas’ Under Milk Wood.

Patrons' feedback:

• Beautiful singing. Lovely with flute, plus combined organ and piano. Wonderful soloist from Bendigo. Lyn
• Absolutely delightful. Carolyn
• Love the traditional (Welsh) singing. Have very fond memories of watching the choir about 20 years ago singing to the movie 'How Green is my Valley' at The Astor cinema in South Yarra. Mix of soloists and accompany flautist a great addition. Great presentation and humour. Ann
• Brilliant! On a par with the Treorchy Male Voice Choir - when live. Marion
• Excellent! Michael
• We loved listening to VWMC again - you were all superb. Chris
• Your finale was wonderful - surrounded by voices I felt wrapped safely in a blanket of safety and song. Susan
• Enjoyed new songs - will look forward to your next performance - come to Glen Waverley sometime! Jim
• Excellent recital.
• Wonderful music!!
• Great! Loved it. 2 comments only - loved it when you joined the audience. Would love to hear more a capella. Marianne
• Lovely blend of traditional and contemporary songs. Instrumental support great. Good 'new' soloists. Great re-start after long lockdown. Geoff
• Fantastic - male four part harmony - tops. David
  

Erfyl sang Vincent Davies' Bryniau Aur fy Ngwlad (My Country's Golden Hills), W.S. Gwynn Williams' My Little Welsh Home, and later William Williams' Iesu, Iesu 'rwyt ti'n ddigon (Jesus, Thou Art Sufficient) sung to the tune Lausanne, and P Mostyn Williams' Gwlad y Delyn (Land of the Harp).

Compère Drew Hopkins introduced the music team and our guest Welsh conductor Dilwyn Price who immediately delighted the audience with his cheerful and humorous personality as he gave the background to Calon Lân (A Pure Heart), Aberystwyth and the passionate

O Gymru (O Wales) featuring Eleri in a flaming red dress and waving a small Welsh flag to much applause.

Exit Eleri and enter husband Aled who introduced his two solos before his rich baritone voice soared in the serenade Deh! vieni alla finestra (Oh, Come to the Window), from Wolfgang Amadeus Mozart’s Don Giovanni and pulsated with passion on Y Cymro (The Welshman).

Dilwyn came back on stage and gave the background to two favourites from the Welsh choral repertoire – Gwahoddiad (Invitation) and Myfanwy before the more modern Yfory (Tomorrow) with another fine solo by Aled and sensitive flute accompaniment by Nigel McGuckian.

Exit Aled and enter Eleri this time. Her magnificent mezzo soprano voice was ideal in the lovelorn aria Voi Che Sapete (Those Who Know) from Mozart’s Marriage of Figaro. This was followed by the equally romantic My Life Belongs To You by Welsh composer Ivor Novello from his 1939 musical The Dancing Years.

Drew then introduced the Opera medley – Pilgrims’ Chorus from Wagner’s Tannhäuser, The Soldiers’ Chorus from Gounod’s Faust, The Toréador Song from Bizet’s Carmen with a spirited solo by tenor Drew himself, finishing off with the gypsy girl inspired Anvil Chorus from Verdi’s Il Trovatore, complete with metallic accompaniment by Colin ‘Smith’ Evans.

After interval, Dilwyn (referencing the earlier Myfanwy) challenged the audience to give him any first name and he would instantly sing a song with that name in it. Someone shouted out ‘Cheryl’ which initially stumped the irrepressible conductor…until he remembered the very thing – Happy Birthday to You….!  Once the laughter had subsided,Dilwyn explained the passion and meaning behind the Eisteddfod welcome song Unwaith Eto’n Nghymru Annwyl (Once Again in Dear Wales) with Eleri, now in a glittering gold dress, leading the choir with the first verse before tenor Rushan Hewawasam took up the second and the hall resounded with the final chorus.

Drew then alluded to how the next two brackets tied in with the concert theme of Wales and the World. First was Australian composer Paul Jarman’s iconic song about the famous Aboriginal guerrilla Pemulwuy. Second was African Prayer, the melody of which was inspired by the Welsh song Aberystwyth which we sang in the first half. Composed by Xhosa-speaking Enoch Sontonga, this is now the official National Anthem of South Africa, Lorna Ogilvie’s birth country, and sung in Xhosa, Zulu and English.

Sri Lankan chorister (one of two in VicWelsh) Rushan Hewawasam then came to the microphone and explained that the next song Danno Budunge/Jehovah,Thou Hast Promised is sung at nearly every public event at home. With a lovely flute introduction by Nigel, Rushan then conducted the choir in a beautiful rendition of this anthem which the choir started in Sinhala – with Rushan singing the middle section himself - before finishing with the final English hymn structure. The extended applause said everything.

President Tony Davies stepped forward to thank Rushan for bringing this arrangement to the choir’s repertoire and taking the opportunity to tell the assembly that this was the seventh language they had incorporated so far in tonight’s concert.

As the appropriate Morse-code machine had now been set up on stage, he then introduced tenors Geoff Roberts and Tony Hosemans who then superbly combined their voices in the heart-wrenching duo The Proposal/The Night Was Alive from the 1997 musical Titanic.

At its conclusion the house exploded with well-deserved sustained clapping.

Coming in from the cold, as it were, the choir next accompanied Aled in a masterful performance of I’se Weary of Waitin’ which was triumphantly appreciated.

As the clapping subsided, bass Barry McMahon led the choir in the popular Working Man composed by Canadian Rita MacNeil. Sung with considerable brio, Barry’s performance also drew great applause and Faleiry quickly seized the moment to reprise the last chorus with many in the audience eagerly joining in.

Our guest singers then came back on stage to present three duets. The first was the sensitively sung romantic Barcarolle from the Tales of Hoffman. They then introduced a Scottish element with Robbie Burns’ famous poem My Love is like a Red Red Rose, splendidly and delicately sung. Their final duet was the comic The Spider and the Fly

with the coquettish Eleri drawing in the reluctant Aled with a string of tiny Welsh flags, until he was completely caught. Such was the delicacy of the singing and the superb comic timing, the whole audience was totally enchanted.

These two superb performers next joined the choir on the famous Cwm Rhondda (Rhondda Valley) before stepping to the side as Drew and Graeme Sanderson combined on the modern arrangement of Waltzing Matilda which then cleverly segued into the Welsh National Anthem. With our Welsh guests and half of the choir singing Hen Wlad Fy Nhadau and the rest and most of the standing audience singing Matilda, the bilingual finale brought the concert to a rapturous ending for patrons, guests and choir alike. A standing ovation indeed.

To the strains of Men of Harlech the choir filed off stage leaving Faleiry, Lorna, Dilwyn, Eleri and Aled to join hands to be bathed in waves of applause and cheering as a wonderful heartfelt thank you for a night of outstanding musical pleasure.

After all the speeches had been delivered, sixteen choristers, led by Faleiry and Lorna, were ushered into the room, to the utter surprise of Millie and the majority of her guests.

Faleiry showed her the official photo from 1999 and exchanged greetings in Welsh before presenting a medley of Millie’s favourite Welsh tunes. A chorus of Hymns and Arias was followed by Calon Lân, one verse of Sospan Fach and two of Cwm Rhondda, to her great delight. We then cwtched up to sing Si Hei Lwli ‘Mabi without accompaniment before baritone Roger Bartlett mellifluously led us on You’ll Never Walk Alone.

Asked if she liked Tom Jones (which she did), Roger then powerfully channelled her hero on The Green, Green Grass of Home to great applause. Remembering the miners, bass Barry McMahon magnificently soloed on Working Man which was equally noisily and appreciatively acclaimed by everybody in the room.

Millie’s Welsh friend asked Faleiry if we knew Myfanwy. Faleiry and the choristers all said yes, grand-daughter Kylie said, ‘Just go with the flow’ and we did just that, to great emotional effect.

To finish off proceedings, we asked everyone to stand for the Welsh National Anthem but first Faleiry encouraged the company to sing Waltzing Matilda before half the choir simultaneously sang their hearts out on Hen Wlad Fy Nhadau, finishing with the statutory Oggies and prolonged acclaim.

Cheltenham with Carella Choir

8th December 2019

As a rousing opening number, Rushan conducted both choirs on the anthemic Let Us All Sing. After the applause died down, compère Drew Hopkins introduced the music team and the opening bracket. Faleiry stepped on to the podium to lead VicWelsh through Gwŷr Harlech (Men of Harlech) with the audience eagerly joining in on the second English verse. This was followed by Blaenwern (Love Divine), O Gymru and the resounding Battle Hymn of the Republic with the audience again participating at the end.

A duet from the little-known musical Titanic was next and Drew dramatically set the scene as radioman Harold Bride (played by Tony Hosemans) set up the morse code machine. He was joined by fellow tenor Geoff Roberts as stoker Fred Barrett as they masterfully and heartachingly combined on The Night Was Alive and The Proposal to great acclaim.

The Carella choir then took to the stage and, with Rushan conducting, presented the beautiful Look at the World and Pie Jesu. Next was the African protest song Senzenina featuring Ridhwan Adjumain on the call with the choir responding to great effect complete with final footstomps. Even more challenging was the inspiring Honour the Earth by Sarah Hopkins which included the spoken word as well as choral singing and celestial Harmonic Whirlies.

Time again for two combined items. Faleiry stepped up to conduct Robat Arwyn’s Benedictus with the first verse sung by Shavin Perera, Ridhwan Adjumain, Devin Wijeyakoon and Stefan Stainwall. 

Rushan then conducted both choirs on the iconic Pemulwuy complete with clapsticks.

After the interval Rushan led Carella on Billy Joel’s Lullaby with a sensitive solo by Barbara Burton. As this was their last time together with this choir, Rushan spoke about Lorna’s musicianship and, as a measure of his respect, he gently took over the piano to dedicate to her The Wind Beneath My Wings. Then it was back to the program with For Good and Bridge Over Troubled Water with a fine solo by Andrew Donaldson.

As the choir left the stage, guest tenor John Hales and Carella bass Geoff Serpell, both of whom are ex-VicWelsh singers, frocked up to brilliantly present the witty duet Let’s Call the Whole Thing Off from the famous Astaire and Rogers film Shall We Dance.

The considerable musical talents of individual choristers in Vic Welsh were then highlighted as versatile compère Drew led the choir through the Toreador Song with Gallic aplomb. This was followed by the gentler Ar Lan Y Môr sung a cappella and then the emotional You’ll Never Walk Alone with solo by the mellifluous baritone Roger Bartlett. Working Man was next with another commanding performance by bass Barry McMahon.

Another bass Bob Ash was then joined in French police uniform by tenor Ed Hughes as they hugely entertained the assembled company with the famous Gendarmes’ Duet, resplendent with moustaches, French breadsticks and some nifty footwork, a variation on a pas de deux.

Suitably chastened but in good humour, Carella joined VicWelsh for the final combined items. With Faleiry conducting, Lorna on piano and Rushan on organ, the audience and choristers joined together to sing Hark the Herald Angels Sing and O Come All Ye Faithful plus reprise. Rushan then rehearsed patrons in the final choruses of When the Saints before conducting the assembly in this famous number right up to the triumphant Yeas!

As the excitement subsided, a vote of thanks and presentation of gifts was made by Margie Beadle to the prodigiously talented Lorna, Rushan and Faleiry.

Replacing the Ladies at the front of the church, Musical Director Faleiry Koczkar and accompanist Lorna Ogilvie led VicWelsh in the Welsh favourite Blaenwern (Love Divine), the hugely patriotic O Gymru and the classic Amazing Grace. Faleiry turned to the audience to give them a quick rehearsal in the final chorus before the choir marched into the Battle Hymn of the Republic with splendid additional flute accompaniment by Bendigo chorister Nigel McGuckian.

Geelong Ladies came back to stand in front of VicWelsh in order to sing two combined numbers. With Faleiry conducting, Jeanette led the singing on the call-and-response Senzenina complete with spirited and coordinated stomping in the final verse.  Jeanette then stepped on to the podium to conduct both choirs in the unashamedly romantic Down in the Valley.

After interval it was Geelong Ladies’ turn again with the energising You Raise Me Up, Y Mae Afon (There is a River), O Llefara Addfwyn Iesu (Speak I Pray Thee, Gentle Jesus) and another African song Sombamba with marvellous clapping and stomping in the final choruses.

The stage area then cleared to reveal Radio Operator Tony Hosemans and Stoker Geoff Roberts as they performed a poignant and highly skilful duet from the musical Titanic, to great applause.

VicWelsh returned then with Ar Lan Y Môr (Beside the Sea), the iconic Working Man confidently led by soloist Barry McMahon, the emotional You’ll Never Walk Alone and the famous Toreador Song from Carmen dramatically led by tenor Drew Hopkins.

For the finale, the two choirs again came together and, with Jeanette conducting and Nigel on flute, dovetailed musically on the powerful Benedictus. The versatile Jeanette then stepped down to take the soprano lead on How Great Thou Art with Faleiry conducting.  Both choirs then sang Hen Wlad Fy Nhadau before some sections also simultaneously sang Waltzing Matilda, culminating in the symbolic waving of the Welsh flag by the Ladies’ native Welsh speaker Myfanwy.

Let Us All Sing Concert at Bunjil Place Theatre, Narre Warren 20 October 2019

Co-compère Tony Davies introduced Lorna Ogilvie - the accompanist for both choirs - and Faleiry Koczkar, VicWelsh’s Musical Director. Our first bracket comprised the Welsh tunes Blaenwern (Love Divine) and Ar Lan Y Môr (By the Seaside) followed by Working Man featuring a dramatic bass solo by Barry McMahon which was hugely enjoyed by the audience.

Before Battle Hymn of the Republic, Faleiry rehearsed patrons in preparation for joining in with the final choruses – which they duly did to great applause.

Co-compère Rayesh Gunasekara next introduced the famous Sri Lankan De Lanerolle Brothers. Combining seamlessly, Rohan and Ishan masterfully sang their first duet, Leoncavallo’s Mattinata, made famous by Pavarotti, before the second Italian number Serenata.

ConChord Choir, under the baton of Rushan Hewawasam, then presented a very varied bracket of songs – first, the liturgical Three Contemporary Latin Settings with sensitive violin accompaniment by Brendan Chung. Secondly, Rushan conducted, while simultaneously leading the call and response on the African protest song Senzenina in a stirring performance. Thirdly, Fix You, a very modern song by Coldplay, led by four male choristers plus violin and trumpet (Gemma Webb). Fourthly, the well-loved Bridge Over Troubled Water with the De Lanerolle Brothers. Other accompaniment during this first half came from Rashika Gomez on cello, Will Hardy on flute, Kithum on drums and Dimuth on guitars.

For their second set, Rohan and Ishan promptly invited up on to the stage expatriate tenor Niraj Vedanayagam who was now resident in Melbourne. All three then combined beautifully on the well-known Ave Maria which elicited great appreciation from the audience as well as from all the choristers. Rushan then joined the brothers at the piano and led the brothers into an upbeat version of How Great Thou Art, to the delight of the assembly.

The brothers then combined with both choirs on a wonderful rendition of Benedictus followed by When The Saints Go Marching In, complete with prior audience rehearsal and subsequent performance, to finish the first half in a suitably buoyant tone.

For the second half, the choirs changed position so that ConChord were now behind VicWelsh as Faleiry then conducted both ensembles in the challenging Speed Your Journey from Nabucco.

Rayesh introduced ConChord’s bracket, starting off with a lively medley from the shows featuring an emotional solo by Teruni De Alwis on I Had A Dream, moving on to Dancing Queen and finishing with We Are the Champions.

Rushan further showed his versatility by playing piano and conducting a Sri Lankan medley in Sinhalese and Tamil and being joined by the brothers for the final tune. They then combined with the choir on the famous John Farnham number You’re The Voice along with the entire theatre and VicWelsh singing and clapping along.

Ishan then commanded centre stage as he moved into the old standard Ol’ Man River. With superb breath control and perfectly pitched notes, this was a basso profundo at his peak with an effortless virtuoso performance.

Joined by Rohan, equally affecting was their perfectly modulated duet Watchman - What of the Night by Sargeant, a brilliant performance by this hugely talented fraternal combination.

Tony Davies remarked on the variety of different languages already sung and put Welsh and other Celtic tongues in their context before the brothers returned to lead the choir on You’ll Never Walk Alone from Carousel. VicWelsh continued with the hugely nostalgic Goin’ Home by Dvořák which did not fail to tug at the heartstrings. The choir dedicated the hymn Cwm Rhondda to Mrs Hendrika Vis in the audience for her part, with her ex-chorister husband Joh, in recruiting Rushan to VicWelsh. Patrons eagerly joined the choir to sing the final chorus Songs of Praises as well as on the reprise. From ‘treading the verge of Jordan’ to the measured tread of Ed Hughes and Bob Ash next appearing as French policemen to entertain everyone in the comic Gendarmes’ Duet, complete with baguettes instead of batons. As the laughter subsided, Tony explained the story of the Aboriginal guerrilla fighter Pemulwuy before Rushan conducted both choirs in this eponymous song by prolific Australian composer Paul Jarman. Back came Rohan and Ishan to lead everybody in a modern arrangement of Waltzing Matilda. In preparation for the chorus ConChord enchanted the entire theatre by first humming and then singing the Sri Lankan anthem Namo Namo Matha which prompted a good number of patrons to rise up from their seats. This was repeated as half of VicWelsh sang Waltzing Matilda at the same time, with the other half singing the Welsh National Anthem Hen Wlad Fy Nhadau which stupendously built up to the triumphant finale of three anthems being sung simultaneously, a fitting finish to this multicultural and multilingual concert.

Finally, Rohan and Ishan then joined hands with Faleiry, Rushan and Lorna at front of stage as the whole theatre gave them and the two choirs a very well-deserved standing ovation.

Let Us All Sing Concert at Wendouree Arts Centre 13 October 2019

Co-compère John White introduced Lorna Ogilvie - the accompanist for both choirs - and Faleiry Koczkar, VicWelsh’s Musical Director. Our first bracket comprised the Welsh tunes Blaenwern (Love Divine) and Ar Lan Y Môr (By the Seaside) followed by Working Man featuring a dramatic bass solo by Barry McMahon which was hugely enjoyed by the audience.

Before Battle Hymn of the Republic, Faleiry rehearsed patrons in preparation for joining in with the final choruses – which they duly did to great applause.

Co-compère Rayesh Gunasekara next introduced the famous De Lanerolle Brothers from Sri Lanka. Combining seamlessly, their first duet was Leoncavallo’s Mattinata, made famous by Pavarotti. Next was the iconic Ave Maria with tenor Rohan and bass Ishan showcasing their magnificent articulation, phrasing and superb breath control on the final note, the quality of which elicited great appreciation from the audience as well as from all the choristers.

ConChord Choir, under the baton of Rushan Hewawasam, then presented a very varied bracket of songs – first, the liturgical Three Contemporary Latin Settings with sensitive violin accompaniment by Brendan Chung. Secondly, Rushan conducted, while simultaneously leading the call and response on the African protest song Senzenina in a stirring performance. Thirdly, Fix You, a very modern song by Coldplay, led by four male choristers plus violin and trumpet (Gemma Webb). Fourthly, the well-loved Bridge Over Troubled Water with the De Lanerolle Brothers.

Ishan remained on stage and sang the mighty O Isis and Osiris by Mozart, followed by Rohan on the romantic Silent Worship by Handel.

Both brothers then led both choirs into a wonderful rendition of Benedictus followed by When The Saints Go Marching In, complete with prior audience rehearsal and subsequent performance, to finish the first half in a suitably buoyant tone.

For the second half, the choirs changed position so that ConChord were now behind VicWelsh as Faleiry then conducted both ensembles in the challenging Speed Your Journey from Nabucco.

Rayesh introduced ConChord’s bracket, starting off with a lively medley from the shows with touching solos by Teruni De Alwis on A Whole New World and I Had A Dream and culminating in We Are the Champions.

Rushan further showed his versatility by playing piano and conducting a Sri Lankan medley in Sinhalese and Tamil and being joined by the brothers for the final tune. They then combined with the choir on the famous John Farnham number You’re The Voice along with the entire assembly singing and clapping along.

Ishan then commanded centre stage as he moved into the old standard Ol’ Man River. With superb breath control and perfectly pitched notes, this was a basso profundo at his peak with an effortless virtuoso performance which quite rightly brought the audience and both choirs to their feet in a wonderful standing ovation.

Equally affecting was their perfectly modulated duet Watchman - What of the Night by Sargeant, a brilliant performance by this hugely talented fraternal combination.

John White made a pitch for any men in the theatre to join VicWelsh’s Ballarat chapter then the brothers returned to lead the choir in You’ll Never Walk Alone from Carousel.

Dvořák’s Goin’ Home tugged at the heartstrings before the familiar lines of the hymn Cwm Rhondda echoed with patrons eagerly singing the final chorus Songs of Praises. From ‘treading the verge of Jordan’ to the measured tread of Ed Hughes and Bob Ash next appearing as French policemen to entertain everyone in the comic Gendarmes’ Duet, complete with baguettes instead of batons. As the laughter subsided, John explained the story of Pemulwuy before Rushan conducted both choirs in this eponymous song by Paul Jarman. Back came Rohan and Ishan to lead everybody in a modern arrangement of Waltzing Matilda which stupendously built up to the unprecedented finale of its final choruses being sung at the same time as the Sri Lankan anthem Namo Namo Matha and the Welsh Hen Wlad Fy Nhadau – an absolute triumph and a beautifully uplifting finish to this multicultural and multilingual concert.

Rohan and Ishan joined hands with Faleiry, Rushan and Lorna at front of stage as the whole theatre gave them and the two choirs a standing ovation.

Moving on to Rodgers and Hammerstein, she then led the choir in the iconic You’ll Never Walk Alone.

From this emotional high the choir came down to earth with the lilting and gentle Ar Lan Y Môr (Beside the Sea).

Bob Ash stepped forward and prefaced the next two songs with a potted history of coal mining and its awful death toll. He then sang, without accompaniment, the heart-breaking Prince Among Men. Equally affecting was fellow bass Barry McMahon as he led the choir on the soaring Working Man.

Before the last item of the first half, Faleiry turned to the audience to rehearse them in their part of the final chorus. Some very confident soprano voices showed that they were ready and able to take their part very seriously. And so it proved. Battle Hymn of the Republic, with flute accompaniment by Nigel McGuckian, crescendoed to its final choruses and amens so tremendously that, of course, a final reprise had to be sung, to great acclaim.

After the break Merlyn Quaife AM (who coincidentally, as Marina told us later, had been her singing teacher since she was 14) explained how the money raised by the concert, were shared between Rotary and the Foundation which, in turn, funded young musicians from Bendigo Senior Secondary College. The 2017 BSSC Musician of the Year Sean Nudl then plugged in his guitar and impressed patrons with his intricate variation on the theme of Imagine by John Lennon. Next was the 2018 winner Sophia McGranaghan, accompanied by Lorna, with a virtuoso performance on alto sax of Debussy’s La Fille aux Cheveux de Lin.

From Debussy to Verdi then, with Speed Your Journey sung by the choir followed by the haunting modern Welsh song Anfonaf Angel, again with delicate flute by Nigel.

Marina returned to the stage to thoroughly entertain the attentive assembly with Someone to Watch Over Me. Georgy Girl was next with tuneful whistling from some choristers and with the audience and choir encouraged to sing along at the appropriate time, which was done with huge enjoyment. With patrons beaming, it was fitting that Marina’s next number was S’Wonderful before her magnetic show-stopping Music of the Night from Phantom in which she had starred for three years. The whole theatre fully acknowledged Marina’s stage presence and beautiful voice with loud and sustained applause.

Musically moving back in time, the choir then sang the romantic My Dearest Dear before Bendigonian second tenor Keva Lloyd sensitively caught the pathos of another Ivor Novello number We’ll Gather Lilacs. Not surprisingly, many patrons knew this one well and sang along with the choir.

Moving even further back in time, Bob Ash and tenor Ed Hughes manned themselves with caps, gloves, moustaches and lethal French bread sticks to present the comic Gendarmes’ Duet. With their deft footwork and singing, their tour de force was justly rewarded by much laughter and acclaim.

Our brilliant flautist Nigel came forward once again to lead the choir into the nostalgic Goin’ Home. This proved to be a premature thought, however, as Marina again took the microphone to lead the choir in the powerful How Great Thou Art. Marina remained on stage as versatile compère Drew was joined by bass Graeme Sanderson to conjure up Waltzing Matilda in a modern arrangement which then led into simultaneous singing of the Welsh National Anthem by half the choir. As this wonderful concert came to an end, the audience was only too happy to sing the final chorus twice before a veritable wave of lengthy applause gave thanks to the musical achievements of Marina, Lorna and Faleiry and the choir.

Aireys Inlet

As the Hall had been used for voting the previous day, compère Tony Davies quipped that, whatever the outcome, he was pleased that everyone had voted for today’s Green Jacket Party. He promised them a veritable musical climate change as they would variously be astonished, elated, laugh and cry and even be invited to sing before leaving with a glow in their hearts and a smile on their faces.

He acknowledged the Waddawurrung traditional owners and paid respects to them and their elders past and present.

The opening bracket comprised three outstanding Welsh hymns Arwelfa, Tydi A Roddaist and Blaenwern resoundingly finishing with its five tremendous Amens.

The depth of talent in the choir became immediately apparent as baritone Roger Bartlett then joined first tenor Drew Hopkins to sensitively duet on the bittersweet Ti a Dy Ddoniau (You and Your Skills), another love song where the Welshman comes off second best!

Conscientious objector Waldo Williams’ words in Y Tangnefeddwyr (The Peacemakers) told the story of his parents’ lament over the bombing of Swansea in this soulful song.

Fittingly for our location, the choir next sang the lilting Ar Lan Y Môr (Beside the Sea). Barry McMahon with his powerful bass voice then stepped up to lead the choir on the iconic Working Man, to great applause. Given the time of year, VicWelsh then swung into the famous standard Autumn Leaves with Geoff Roberts on percussion.

As the next duo were donning caps and white gloves, Tony briefly explained how The Gendarmes’ Duet came to be written in English in 1871 and how it had become a well-known favourite comic number. Bass Bob Ash and tenor Ed Hughes neatly marched forward and, with the addition of waxed moustaches and French baguettes instead of truncheons, very precisely and amusingly intoned the clever words, interspersed with a very fetching bit of coordinated footwork. Sustained laughter and clapping, rather than a referral to the police professional standards command, was their well-deserved and just reward.

Before interval, Faleiry rehearsed the entire audience in their crucial parts at the end of the Rutter’s choral arrangement of When the Saints Go Marching In.  So tuneful and keen were they that, naturally, a reprise had to be performed by patrons and choristers alike before seeking liquid refreshment.

After the break, Tony explained how Unwaith Eto’n Nghymru Annwyl (Once Again in Dear Wales) is sung every year at the National Eisteddfod of Wales in a welcome back ceremony to returning Welsh expatriates. Rushan Hewawasam showcased his silky second tenor voice on this emotional number with the choir as backing. The heartache and homesickness inherent in the next song Hiraeth (Longing) was then mellifluously invoked by baritone Roger. As the choir had paid their respects to Faleiry on her 25^th anniversary as Musical Director at our St David’s Day concert by dedicating Anfonaf Angel (I will Send an Angel) to her with multi-talented Rushan conducting, we repeated that arrangement to great acclaim. Adding to its emotional force, the whole performance was totally enhanced by the beautiful flute playing by Bendigo chorister Nigel McGuckian.

As the next duo intriguingly got ready at the front of stage, the compère set the scene by explaining that Geoff Roberts was playing Fred Barrett a stoker and Tony Hosemans a radioman on 15^th April 1912 aboard the ill-fated ship Titanic. Taking a scene from the 1997 Titanic musical on Broadway the singing by both tenors, augmented by precise tapping by Tony on a Morse code machine, absolutely gripped the entire hall which erupted into lengthy applause once it had finished. The performance was also a wonderful surprise for the Bendigo and Ballarat choristers who were seeing and reacting to it for the very first time. As a choir première, it delighted everyone with its novelty – yet another example of the talent within the choir.

Coming back to dry land, in a nostalgia bracket, the choir caused a few tissues to be brought out on two Ivor Novello numbers - My Dearest Dear followed by We’ll Gather Lilacs with a fine solo by Drew. At Faleiry’s invitation, many patrons were very happy to sing along to these well-known tunes. The heartstrings were then stretched even further with Nigel playing both the introduction and the coda to Dvořák’s Goin’ Home from the New World Symphony.

We weren’t quite ready to go home, however, as Drew’s top tenor voice was joined by Graeme Sanderson’s bass to lead choristers into the modern arrangement of Waltzing Matilda segueing into the Welsh National Anthem, with the audience joining in with whichever one they knew.

After whole-heartedly applauding all the soloists, choristers and music team, the audience were asked to remain sitting as the choir moved down and around them to harmoniously farewell them at the appropriate time of day with the hauntingly apt Sunset Poem from Under Milk Wood.

The inimitable harpist Huw Jones entertained everybody with the story and improvisation of The Ash Grove plus a rollicking Along the Road to Gundagai.

At the end of the Gymanfa Ganu, all choirs, all patrons and the guest baritone stood to passionately sing Hen Wlad Fy Nhadau.

Furthermore, the choir was remarkable in being blessed with a hugely stable and committed music team with Bendigo’s accompanist Liz Paton’s 16 years of service, Lorna Ogilvie’s 20 and, next month, Faleiry’s 25 years. Given that the next number was Anfonaf Angel, Tony surprised Faleiry and most of the choir, by presenting her with a gold and silver filigree guardian angel on a silver chain. Somewhat stunned, Faleiry managed to thank the choir for its gift but there was another surprise in the offing. Tony asked Faleiry to sit down at the side of the stage whilst Rushan Hewawasam stepped on to the podium to conduct the choir as we dedicated Anfonaf Angel – with Bendigonian Nigel McGuckian’s flute introduction - to our very own musical angel.

After general acclaim from the entire hall, Drew came back to introduce Yfory (again with flute) and the popular Cwm Rhondda, with Roy singing the first verse and the audience lustily joining in on the chorus (twice) just before the interval.

After the break, Rushan sensitively led the choir in the Welsh expatriates’ welcome song Unwaith Eto’n Nghymru Annwyl. Next was the love song Ar Lan Y Môr and then Roy was welcomed back to join the choir on the classic All Through the Night.

First half soloists Roger and Drew then combined beautifully on Ti A Dy Ddoniau, another Welsh love story where the man (two men this time) is discarded.

Roy once again took the stage and, after some introductions, thoroughly entertained the assembly with Dein ist Mein Ganzes Herz (You Are My Heart’s Delight) and the stupendous and energetic Granada by Lara. Such power and passion by both Roy, and Lorna on piano, elicited so much acclaim that they had to reprise the final chorus.

After such excitement, Drew introduced two gentler songs by Welshman Ivor Novello – My Dearest Dear followed by We’ll Gather Lilacs with Roy and audience participation.

Another very patriotic song O Gymru (complete with copious Welsh sunshine) was succeeded by Roy and the choir soaring with How Great Thou Art, made famous by Harry Secombe who had sung here in Melbourne with us in 1991. As this was Roy’s last number in the concert, he was given a huge thank-you from audience and choir alike, leaving no doubt that he had made many new fans.

The encore was the iconic Calon Lân, enhanced by the appearance of two choristers complete with daffodil head-dresses which seemed appropriate. At least they weren’t ‘leeking’ all over the stage!

There only remained the Welsh National Anthem Mae Hen Wlad Fy Nhadau with the marvellous sight of 650 patrons upstanding while the Oggies reverberated through the theatre.

A delighted and enthusiastic ‘yes’ response came from 20 choristers, plus our Musical Director Faleiry Koczkar, and Bendigo accompanist Liz Paton, and they all travelled variously from Melbourne, Ballarat and Bendigo to participate in the performance.

Drew’s talk covered a brief history of the emergence in the nineteenth century of the Welsh male choral tradition. The talk also provided background on the Welsh language, and the role the chapel and choral singing played in its preservation in the face of the encroachment of English as the dominant language in Wales.

A brief history of Victoria Welsh Choir was also included and the whole talk was interspersed with three brackets of songs from the choristers. All the songs were Welsh favourites, including Men of Harlech, Cwm Rhondda, Calon Lân, Myfanwy and Si Hei Lwli ‘Mabi. The audience was thoroughly charmed at the conclusion of the performance when they were surrounded by the choir for the singing, a cappella, of Sunset Poem. The choristers were then rewarded with wine and cheese from a very cheerful audience of Twilight Talk attenders.

Report by Drew Hopkins.

The choir’s next bracket was the popular Myfanwy and the famous Speed Your Journey from Verdi’s opera Nabucco. This was followed by tenor Rushan Hewawasam on his first public rendition of the National Eisteddfod’s welcoming song Unwaith Eto’n ‘Nghymru Annwyl (Once Again in Dear Wales) which was loudly acclaimed.

In preparation for their part in the final chorus, Faleiry put the eager audience into rehearsal mode before the choir launched into John Rutter’s spirited arrangement of When the Saints Go Marching In. The assembled company put their practice to good use and the theatre positively resounded through the choruses to the final triumphant Yeah!

After interval David sensitively led the choir on the traditional All Through the Night. Compère Drew then explained the stories behind the two Paul Jarman songs - Land of My Song with fine solos from john Adams and Geoff Roberts, and Pemulwuy, both of which were much enjoyed by the full house.

David returned and spoke about his Ballarat upbringing and his Welsh heritage which segued into a powerfully poignant recitation of Dylan Thomas’ Do Not Go Gentle into That Good Night. He then turned to his musical theatre experience to sing the upbeat Hushabye Mountain from Chitty Chitty Bang Bang followed by a wonderful performance of I’ve Grown Accustomed to her Face from My Fair Lady.

With a jaunty hat in place, David theatrically turned into Nicely-Nicely Johnson to energetically exhort choristers to Sit Down You’re Rockin’ the Boat from Guys & Dolls to great applause.

Being the tremendously versatile entertainer that he is, David then strapped on his guitar to lead the choir in a merry dance with the traditional Irish song Spanish Lady, complete with Geoff Roberts on castanets and animated clapping from choristers. Olé indeed!

The final production number was the ever-popular medley from Les Misérables with Rushan again splendidly featuring on I Dreamed a Dream and Bring Him Home.

David came back on stage to join the choir on an abbreviated version of Waltzing Matilda with part of the choir, including David, singing the Welsh National Anthem at the same time as patrons continued with the Australian words. David and the choir took their bows to prolonged applause from the very appreciative assembly who, it transpired, wanted a little more.

As the choir started to make their way off the stage, cries of Encore swelled up and Faleiry swiftly communicated the title to choristers and Lorna before conducting them on the iconic Cwm Rhondda which finally and magnificently signalled the end of a fantastic afternoon’s concert.

Audience feedback included:

Comments from audience members included:

• Joyful, amazing, wonderful, uplifting. “I thought the angels were going to float us away.” ha ha!  Lee
• Very enjoyable.
• Very beautiful singing, hope to come again soon. Elaine
  
• Wonderful thank-you. Kaylene
  
• Beautiful, blissful, inspiring, uplifting. Cheryl
  
• Thank you for a wonderful performance – hugely enjoyable!   Bronwyn
  
• Peaceful harmony.
  
• Very stirring & magnificent singing. Enjoyed immensely. Thank you. Kaye
  
• Only one word “Brilliant.”  Judy
  

KaDenCe started the concert by surrounding the audience to welcome VicWelsh with a witty song, sung to the tune of Men of Harlech, before the real English verse and then VicWelsh singing Gwŷr Harlech in Welsh. The classic Cwm Rhondda received the same treatment before compère John White introduced our first bracket comprising What Would I Do Without My Music, Morte Criste, the lullaby Si Hei Lwli ‘Mabi and Yfory (Tomorrow) with sensitive accompaniment by Merle Hopman on treble recorder. Bass Geoff Serpell then introduced Working Man, paying respects to miners everywhere, including here in Kapunda, Australia’s first mining town. This presentation attracted sustained and noisy applause. All available chairs being occupied by paying patrons, VicWelsh exited the stage through a side door to find temporary seating on the coach.

Nikki, accompanied by Peter on clarinet, took the stage to entertain the capacity audience on Aranjuez and Paul Manz’s famous Aria. They were then joined by Glenda to sing We’ve Only Just Begun.

KaDenCe then came together in a popular bracket of classic tunes Happy Together, California Dreaming, Monday Monday and Dream a Little Dream.

After the interval both choirs squeezed on to the stage to present an extended Les Misérables medley with some sections sung just by KaDenCe, others combined and fine solos by Nikki, Bob Ash and Rushan Hewawasam. VicWelsh filed outside leaving Bob to solo on the poignant Prince Amongst Men, Rushan on I Know Him So Well before being joined by Drew Hopkins on the romantic duet Perhaps Love.

KaDenCe’s last bracket was At the bend of the river followed by Song of Australia finishing with part of Waltzing Matilda, then the war-themed Here You Lie.  With VicWelsh returning, this prefaced a medley of World War One songs, conducted by Faleiry, with the eager audience enthusiastically singing along. Both choirs were now in place for the grand finale - the stupendous Hallelujah Chorus with Nikki on the rostrum and everyone standing and joining in, a superb finish for an afternoon of quality singing and performance.

As patrons started to move out, Faleiry led VicWelsh into an impromptu rendition of the Welsh National Anthem with a proud local Welshman singing his heart out. Not wanting to let the moment slip away, he requested Calon Lân and VicWelsh fired up again. By this time most of the departing patrons had turned on their heels to revel in this encore. Requests came thick and fast – Faleiry settled on Amazing Grace and made that the very last song, farewelling the reluctant audience with the very apt, “And grace will lead me home, lead me home”.

Guest soloist soprano Joanna McWaters followed to thrill patrons with Puccini’s O Mia Babbino and I Could Have Danced All Night from My Fair Lady.

Earlier the MC had mentioned ‘a very long Welsh name’, so at Faleiry's invitation Welsh speaker Stephen Pepper then recited it in full: "Llanfairpwllgwyngyllgogerychwyrndrobwll-LlanTysiliogogogoch", or LlanfairPG for short. Following this educational aside, Faleiry led the choir through the spirited Men of Harlech in Welsh and English, and compère Tony Davies told the audience a little about VicWelsh before introducing the rest of our opening bracket – What Would I Do Without My Music, the temperance song Rachie, the romantic Anfonaf Angel, with recorder accompaniment by Bendigonian Merle Hopman, and an animated and powerful Working Man by bass Geoff Serpell which concluded the first half on a high note.

After a brief interval, Adelaide Male Choir took the stage under the baton of Colin Campbell to present the visceral call and response African song Tshotsholoza with talented soloist Alex Burney.  Bill then introduced and conducted his men in The Finnish Forest, Didn’t My Lord, My Lord What a Morning and the magnificent Anthem from Chess.

Soprano Joanna returned and entranced the audience with Moon River, Somewhere Over the Rainbow and the beautiful This is My Beloved from Kismet. Sustained applause showed how much everyone had enjoyed her performances.

As VicWelsh came back on stage, Stephen responded to a patron’s request to know what LlanfairPG meant in English as follows: "St Mary's Church, in a hollow by the white hazel close to the rapid whirlpool near the red cave of St Tysilio." Honour was satisfied.

Faleiry then stepped nearer to the choir and led them through the a cappella lullaby Si Hei Lwli ‘Mabi. Tony Davies gave the historical background to the next song, and the choir brought the modern arrangement of Pemulwuy alive before channelling 1832 Paris in a Les Misérables medley with finely sung solos by second tenor Rushan Hewawasam.

Bass Bob Ash and tenor Drew Hopkins then combined to lead the choir into Waltzing Matilda with part of the choir concurrently singing the Welsh National Anthem at the end.

In preparation for the finale, the Adelaide choristers stationed themselves behind VicWelsh as Faleiry conducted the combined choirs from an elevated podium in the famous Speed Your Journey, also known as the Chorus of the Hebrew Slaves. This was very warmly received before Bill led the choirs in the powerful Battle Hymn of the Republic.  With its resounding Amens, it topped off a hugely successful male voice concert as reflected in the level and amplitude of the audience’s acclaim.

Echoing Sing Australia’s fourth song, VicWelsh rhetorically asked What Would I Do Without My Music before Merle Hopman on recorder melodiously led the choir into Anfonaf Angel. A mining bracket followed – the ever-popular Cwm Rhondda with audience participation followed by a flawless a cappella rendition of Prince Amongst Men by Bob and an emotional finale Working Man by fellow bass Geoff Serpell.

After a short interval, Sing Australia came back to entertain the capacity audience with a bracket of popular songs – I Love, Sound of Silence, Catch a Falling Star and Take Me Home.

Geoff Serpell then joined up with aproned tenor John Hales with their comic duet Ah Still Suits Me from Showboat.

The choir restarted with the a cappella lullaby Si Hei Lwli ‘Mabi before Bob set the scene for the story of Pemulwuy complete with clapsticks by Rushan and Garry Salisbury. Fond memories and emotions were then embraced with The Rose, You’ll Never Walk Alone and We’ll Gather Lilacs. These were followed by the choir’s last rousing number When the Saints Go Marching In.

John Snodgrass thanked everyone who had made the joint concert such a roaring success. The Sing Australia ethos was exemplified by the revelation that fifteen members had driven up from Adelaide and that two of his personal friends had picked up Rushan from the airport and brought him up – an absolutely wonderful practical gesture.

Jo returned to conduct the combined choirs on I Dreamed A Dream and Always There. Faleiry then took over to lead everyone in Waltzing Matilda with duet by Drew and Geoff, culminating in the majority of singers and patrons singing the chorus while a small section concurrently sang the Welsh National Anthem.

Such a warm feeling was in the church that it was only fitting that VicWelsh paid their respects to Sing Australia choristers and audience alike, by leaving the stage to surround the pews to sing our heartfelt farewells with Sunset Poem.

Guest soprano Katrina MacKenzie took the stage to deliver stunning performances of Quando m’en vo’  from La Bohème, Una Donna a quindici anni from Cosi fan Tutte and Chacun le sait from La Fille du Régiment.

Back came the Sound Connection with two more popular songs Let It Go from Frozen and Take a Chance on Me.

Vic Welsh then sang the iconic Cwm Rhondda (Guide me O Thou Great Redeemer) with patrons happy to join in with the final choruses. Bass Bob Ash then introduced and powerfully sang the solo of Working Man, with the final words reverberating around the auditorium to huge applause.

The ladies came back on stage for the first of two combined numbers. Two women duetted on the call and response African song Senzenina with both choirs powering to the emotional finale. Swapping conductors, both choirs continued the African theme with the climactic Dry Your Tears, Afrika.

After interval, it was VicWelsh’s turn to show that they could also sing a cappella on the lullaby Si Hei Lwli ‘Mabi before Tony set the historical background for the Paul Jarman song about Pemulwuy.

Then it was time to hear from the distinguished baritone Andrew Crispe who entertainingly presented his bracket of songs - World on a String, When Words Fail from Shrek the Musical and the challenging but brilliantly sung Soliloquy from Carousel.

Sound Connection came back with shimmering silver scarves over their smart black ensembles to launch into another of their well-coordinated productions of You Can’t Stop the Beat from Hairspray and the Eric Bogle favourite Shelter.

Tony Davies set the scene for VicWelsh’s medley from Les Misérables with finely-tuned solos from Rushan Hewawasam on I Dreamed a Dream and Bring Him Home. After general acclaim, Faleiry addressed the audience to say that the Welsh National Anthem had been requested, so VicWelsh sang the last few bars of Waltzing Matilda before leading audience and ladies alike in continuing Matilda while a section of VicWelsh seguéed into Hen Wlad Fy Nhadau. Sound Connection returned for their final bracket The Climb and the beautifully executed You’ve Got a Friend in Me from Toy Story.

Yvonne and Tony thanked all the sponsors and everyone who had worked so hard over several months to make the joint concert possible before both choirs gloriously combined on the John Rutter arrangement of When the Saints Go Marching In with the thoroughly entertained and enthusiastic audience joining in on the final chorus.

Given the disparate styles of the two prodigiously talented choirs, the joint concert was an absolute triumph.

The gentler Anfonaf Angel followed before Roger returned to lead the choir in Green, Green Grass of Home – a presentation rewarded by enthusiastic applause and a well-placed throwing of the accompanist’s scarf.

More talent from within the choir came forward with tenors Rushan Hewawasam and Geoff Roberts melodiously combining on the famous Panis Angelicus duet.

Next was a bracket around the theme of love – the a cappella Myfanwy, We’ll Gather Lilacs, The Rose and You’ll Never Walk Alone. Tissues were retained and rearranged for another lovely tenor duet, Perhaps Love, by Rushan and Drew Hopkins.

By this time the audience was ready to sing again and, with printed words supplied, the choir led everyone in the anthemic Jerusalem.

Bass Geoff Serpell then stirred up the emotions even more with an energetic rendition of an old favourite Working Man.

After the clapping had subsided, Faleiry had a quick rehearsal with patrons before the choir attacked the popular When the Saints Go Marching In with the audience helping them to finish off the first half in a rousing manner.

The second half started with the famous Cwm Rhondda and the marvellous What Would I Do Without My Music. This was followed by another mellifluous solo by Roger with the aching Homeward Bound. Compère Stephen Pepper explained the significance of Paul Jarman’s two songs – Land of My Song was first with solos by Bendigonian John Adams and Geoff Roberts - and the very modern arrangement of Pemulwuy.

Now it was time for some lighter fare with bass Geoff Serpell and the frocked-up tenor John Hales with a theatrical performance of the Ah Still Suits Me duet from Showboat.

We then moved from the Mississippi to the Miserable to present the dynamic medley from Les Mis with Roger soloing on I Dreamed A Dream.

Having started the concert with Men of Harlech in Welsh and English, the concert concluded with a special arrangement of Waltzing Matilda – solos by Geoff Serpell and Drew – which incorporated the simultaneous singing of the Welsh National Anthem at the end.

After tremendous applause from the assembled company, choristers made their way off the stage to surround the audience where they sang their fond farewells with the heartfelt Sunset Poem.

The tributes were led by Rushan Hewawasam who spoke on behalf of the choir explaining how Joh’s persistence had been responsible for him joining the choir and of Joh’s wholehearted involvement with the choir. Rushan was followed by four members of the family who all spoke in glowing terms of their father’s positive impact on their lives both singly and collectively.

• Joh’s skill and speed as a bricklayer and later as a builder were well known. He completed the decorative brickwork in the west wall of the Darling Road Anglican Church after others had declined the job

• Later he became a builder and did construction work for the big banks and churches not least his own Berwick Anglican Church

• One son described how Joh had laid some 12000 bricks and pavers at his house and that his brick letterbox was the best in the street

• All spoke of Joh’s efficiency in his trade, his example at home and of course the family holidays which everybody always enjoyed.

The congregation were then invited to join in a more modern hymn How Deep the Father’s Love for Us followed by two readings from the book of Galatians read by family members. Rev Tom Morgan gave the sermon referring to verse 12 of Psalm 90. a psalm which both his children and the Rev Ben Sonderlund confirmed Joh knew by heart. This was capped off by the choir’s rendition of Rhys.

The service was concluded by the Rev Ben Sonderlund with a closing prayer and benediction, followed by a rousing rendition of Cwm Rhondda as the final congregational hymn. The congregation were invited to sit as the choir moved into the aisles to farewell their fellow chorister with the poignant and fitting Sunset Poem which brought tears to the eyes of both listeners and performers. The choir then formed a guard of honour for Joh and the family members as they processed out of the church.

The family tribute reinforced what choir members remembered – that Joh was both very capable and successful but remained a humble unassuming man and a true Christian gentleman.

Andrew Naylor

Myfanwy was presented without accompaniment before the choir sang We’ll Gather Lilacs with a very willing and musical participation by the audience in the reprise of the last chorus. This was followed by The Rose and then the stirring and emotional You’ll Never Walk Alone, again with a very sensitive solo from Roger.

Versatile compère Bob Ash then introduced the mining bracket with himself singing a beautifully modulated a cappella version of Prince Among Men before fellow bass Geoff Serpell stirred the emotions with the iconic Working Man. Before the last song of the first half, Faleiry put the congregation through their paces as far as rehearsing their parts in the final chorus before the choir launched into the John Rutter arrangement of When the Saints Go Marching In. After repeating the final chorus everyone was glad to have fifteen minutes rest and refreshments.

The second half opened with the rhetorical What Would I Do Without My Music before Bob introduced the specially commissioned work Land of My Song by Paul Jarman with confident solos by John Adams and Geoff Roberts. This was followed by Jarman’s iconic song about the Aboriginal guerrilla fighter Pemulwuy, complete with co-ordinated clapsticks by three different choristers.

Some comic relief was then provided by John Hales and Geoff Serpell, dressed in their princes’ coronets, to give us a suitably theatrical and well-articulated performance of Sondheim’s Agony.

Once order had been restored we were off to join the dispossessed in 19th century Paris with a medley from Les Misérables which included beautiful solos by Rushan and Roger. The final number was a special arrangement of Waltzing Matilda, with solos by Drew and Bob, which culminated with part of the choir singing the Welsh National anthem whilst the other sections and the audience kept up the well-known English chorus from what is effectively the alternative Australian anthem.

Fr. Stephen Pollard stepped up to the microphone to give thanks not only to the choir and the music team but also to all those people in the church who had made the concert possible and Invited everybody to afternoon tea.

After Bob’s round of thanks for the music team and all the soloists, the choir moved off to surround the musical assembly before bidding them farewell with the aptly named Sunset Poem.

Bass Bob Ash presented a fine solo Prince Among Men to start off the mining bracket. The choir’s chaplain, Horsham-born Rev. Tom Morgan spoke about his gold-mining antecedents before leading the choir in the rousing Working Man with the audience eager and willing to join in with the reprise. They were in fine voice, too, on the choruses to the following number Cwm Rhondda, vicariously echoing one of the hymns sung at the royal wedding.

The theme then changed to different varieties of love with, firstly, the a cappella lullaby Si Hei Lwli ‘Mabi before Anfonaf Angel with beautiful flute accompaniment by Bendigo chorister and flautist Nigel McGuckian. Then came The Rose and the emotive You’ll Never Walk Alone led by the well-modulated baritone voice of Roger Bartlett.

Before the last item before interval, When the Saints Go Marching In, Faleiry assiduously rehearsed the 320-strong audience in their parts for the final chorus, which they carried off magnificently when the time came.

The second half commenced with the popular opera chorus Speed Your Journey before the more modern Land of My Song, the choir’s specially commissioned work by Paul Jarman, with excellent solos by John Adams and Geoff Roberts. The compère then set the historical background scene for Paul’s iconic work about the Aboriginal fighter Pemulwuy which was also enthusiastically received.

The focus then shifted from the dispossessed of Botany Bay to the wretched of the earth in Paris in 1832 with the medley from Les Misérables. The choir’s totally committed presentation, interspersed with sensitive solos by Roger Bartlett, caused a huge surge of applause for the production.

After patrons retook their seats, Drew Hopkins and Bob Ash led the choir in the special arrangement of Waltzing Matilda with several Welsh expatriates standing up for the interwoven Hen Wlad Fy Nhadau.

Another standing ovation ensued, thus encouraging Faleiry to instruct choristers to carefully pick their way off the stage to surround the marvellous audience to bid their fond adieus with the unaccompanied Eli Jenkins’ Prayer from Under Milk Wood.  Given its alternative title of Sunset Poem and the time of day, the choir was able to finally chant, ‘And to the sun we all will bow And say, good-bye - but just for now.’

We received these comments from audience members:

• Very enjoyable performance, nothing like a good male choir and then add a touch of Welsh - fantastic.  Elaine
  
  
• Fantastic audience participation!! Much appreciated. Can you start a cell in Horsham? Congratulations on another magnificent performance.
  
  
• Absolutely tantalizing - especially the Verdi, also 'Guide Me O Thou Great Jehovah' and 'When I survey' (My dad chose these for his funeral).
  
  
• The harmony was just magic and the conductor/pianist and soloists A+ as the choir certainly was. I go to all your concerts when they come to Horsham. At the end the stereo effect either side of the auditorium and the beauty of the music was out of this world.  V.G. commentator too.  Elsbeth
  

The Citadel Band enchanted the audience with a lighter bracket of TV Themes (Hogan’s Heroes and Dad’s Army), He Ain’t Heavy, All You Need Is Love and Strong to Save.

After the power of the brass band, the choir sang the a cappella lullaby Si Hei Lwli ‘Mabi followed by The Rose. Roger Bartlett caught the emotion of You’ll Never Walk Alone before the choir’s presentation of Songs from the First World War with plenty of enthusiastic singing from the audience.

The band played Abide with Me before choir and patrons rose as one to listen to the Ode and The Last Post followed by one minute’s silence and Reveille, finishing with God Save the Queen and Advance Australia Fair.

The choir went back on stage to be accompanied by the marvellous Citadel Band on I Am Australian, Highland Cathedral and Cwm Rhondda. VicWelsh then left the stage to appreciative acclaim before the band’s robust finale of Land of Song.

Baritone Roger Bartlett followed with a mellifluous solo rendition of Marta Keen’s Homeward Bound which was also thoroughly enjoyed by the patrons.

Given the imminence of ANZAC Day, local choir River Voices, led by Martina Richardson, choose two WW1 Songs - In Flanders Fields and Here You Lie before a more upbeat I Will Sing.  After the applause had died down, tenors Drew Hopkins and Rushan Hewawasam joined to tell the poignant story of Ellis Island in the affecting Isle of Hope, Isle of Dreams.

At the opening of the show the compère had acknowledged the local Yorta Yorta people so it was fitting that VicWelsh should present Paul Jarman’s popular song about Pemulwuy the famous late 1700s Aboriginal guerrilla fighter who lived in the Sydney area.

River Voices returned to present the Maori proverb Tama Tu before both choirs combined on Senzenina with conductor Martina melodiously leading the call and response. The uplifting What A Wonderful World capped off the very diverse first half.

After the interval, River Voices took the stage to deliver the emotional Prayer of the Children followed by a sea shanty style Boatmen Stomp, finishing with a tremendous and eponymous crashing of feet on the stage which made a few VicWelsh choristers sit up. The defibrillator was not required, however, but heartache of a different calibre was forthcoming when tenor John Hales and bass Geoff Serpell donned their princely coronets to masterfully deliver Stephen Sondheim’s wordfest Agony from Into the Woods.

As well as these items, all choristers joined with the capacity congregation to sing ten different well-known hymns, accompanied by organ, brass and timpani.

At the end of the Gymanfa Ganu, all choirs, all patrons and all the guest singers stood to passionately sing Hen Wlad Fy Nhadau.

2 March 2018 at the Melbourne Recital Centre

Compère Drew Hopkins next introduced Rhys Meirion and Aled Wyn Davies, two of the famous Three Welsh Tenors. The very versatile Ilid moved to the grand piano to accompany their first duet Y Ddau Wladgarwyr (The Two Patriots) by the prolific composer Joseph Parry who also wrote Myfanwy which would be sung later in the program. Their voices took full advantage of the hall’s internationally-renowned acoustics which also resonated with the appreciative applause.

With Lorna on piano and Nigel on flute, Ilid conducted Rhys and the choir on her own arrangement of the beautiful Anfonaf Angel. Aled then came back on to lead the choir on the epic Diolch I’r Iôr, with his high tenor voice reaching every corner of the hall.

With everybody’s appetites whetted for more of this world-class singing, back came Rhys to join Aled as they launched into one of the best-known opera pieces – The Pearl Fishers’ Duet. Understandably, their marvellous rendition ‘brought the house down’. Ilid made a move to exit but had to sit back down at the piano as the two tenors unexpectedly returned to thank everybody with an encore. This took them back to the riches of the Welsh hymnal repertoire with Lausanne sung to the words of William Williams.

The pure Welsh content continued with Aled leading the choir on Yfory (Tomorrow), with wonderfully sensitive accompaniment once again by Nigel on flute and by Lorna on the grand piano. After sustained applause, Rhys came back with the choir, to finish the first half by singing the traditional Eisteddfod welcome to all returning Welsh people – the very emotional Unwaith Eto’n‘Nghymru Annwyl.

With Faleiry back on the podium, the second half commenced with Land of my Song, a specially commissioned piece which had had its world première last year when we were conducted by the composer Paul Jarman. This fine work also featured excellent solos by bass Bob Ash and tenor Geoff Roberts. Compère Drew then explained the background to Jarman’s iconic song about the Aboriginal guerrilla fighter Pemulwuy, with the choir’s enthusiastic performance equally enthusiastically received.

Not a world première but the first time the choir had performed a very modern and difficult song by leading Welsh composer Karl Jenkins – In These Stones Horizons Sing.

In complete contrast this was followed by an a cappella version of Myfanwy which showcased the choir’s control of soft singing.

Drew alluded to the ways in which Welsh performers had extended their musical horizons around the world. Cardiff-born Ivor Novello was remembered with We’ll Gather Lilacs with the reprise eagerly and tenderly taken up by the audience. Harry Secombe was replaced by our own hugely-talented Rushan Hewawasam on How Great Thou Art and Tom Jones by heartthrob Roger Bartlett on the well-known Green Green Grass of Home, again joined by all of our tuneful patrons.

Back came Ilid to conduct Rhys and the choir in All Through the Night, followed by Aled on the lullaby Suo Gân. Ilid then addressed the wonderful audience, not only to thank them but to give heartfelt thanks to Faleiry and Lorna.

To finish, soloists Drew and Geoff Serpell led the choir in Faleiry and Lorna’s arrangement of a modern version of Waltzing Matilda which craftily segues into the Welsh National Anthem. For that final part we were joined on stage by Ilid, Rhys and Aled who naturally stayed on as Faleiry asked the audience to stand as we more formally sang Mae Hen Wlad Fy Nhadau. With Ilid’s soprano voice and the magnificent two tenors, the hall absolutely resounded with pride, passion and huge appreciation for a truly Welsh concert.

Comments from audience members:

We have also received this message from the Secretary of the Welsh Church:

• We congratulate the "Vic Welsh" on the wonderful success of their concert last Friday evening.  A terrific evening of entertainment!
  

The family tribute reinforced what choir members remembered – that Bill was a hard-working, humble and modest man and a true gentleman.