handel’s messiah - guelph chamber...

Gerald Neufeldconductor

Alison MacNeillaccompanist

government & community support

HANDEL’S

MESSIAHSaturday December 20, 2014River Run Centre | 7:30 pmMusica Viva Orchestraon period instruments

Sheila Dietrich, SopranoDaniel Cabena, CountertenorChristopher Fischer, TenorAlexander Dobson, Bass

concert sponsor

ProgramGEORGE FRIDERIC HANDEL (1685-1759)MESSIAH

Part ISinfony Comfort ye my people . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tenor recitativeEv’ry valley shall be exalted . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tenor ariaAnd the glory of the Lord . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ChorusThus saith the Lord . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Bass recitativeBut who may abide the day of his coming? . . . . . . . . . . . . . . . . . . . . . . . . . . .Alto ariaAnd He shall purify the sons of Levi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ChorusBehold, a virgin shall conceive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Alto recitativeO thou that tellest good tidings to Zion . . . . . . . . . . . . . . . . . . . Alto aria and chorusFor behold, darkness shall cover the earth . . . . . . . . . . . . . . . . . . . . . Bass recitativeThe people that walked in darkness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Bass ariaFor unto us a child is born . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ChorusPifa (Pastoral Symphony)There were shepherds abiding in the field . . . . . . . . . . . . . . . . . . . Soprano recitativeAnd lo, the angel of the Lord came upon them . . . . . . . . . . . . . . . Soprano recitativeAnd the angel said unto them . . . . . . . . . . . . . . . . . . . . . . . . . . . . Soprano recitativeAnd suddenly there was with the angel . . . . . . . . . . . . . . . . . . . . Soprano recitativeGlory to God . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ChorusRejoice greatly, O daughter of Zion . . . . . . . . . . . . . . . . . . . . . . . . . . . Soprano ariaThen shall the eyes of the blind . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Alto recitativeHe shall feed his flock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Alto & soprano ariaHis yoke is easy, and his burden is light . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Chorus

Intermisson

Part IIBehold the Lamb of God . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ChorusHe was despised . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Alto ariaSurely He hath borne our griefs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ChorusAnd with his stripes we are healed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ChorusAll we, like sheep, have gone astray . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ChorusAll they that see him laugh him to scorn . . . . . . . . . . . . . . . . . . . . . . Tenor recitativeHe trusted in God . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Chorus

Program cont’dThy rebuke hath broken His heart . . . . . . . . . . . . . . . . . . . . . . . . . . . Tenor recitativeBehold and see if there be any sorrow . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tenor ariaHe was cut off out of the land of the living . . . . . . . . . . . . . . . . . . . . . Tenor recitativeBut Thou didst not leave his soul in hell . . . . . . . . . . . . . . . . . . . . . . . . . . Tenor ariaLift up your heads, O ye gates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ChorusUnto which of the angels said he any time . . . . . . . . . . . . . . . . . . . . . Tenor recitativeLet all the angels of God worship him . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ChorusThe Lord gave the word . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ChorusHow beautiful are the feet of them that preach the gospel of peace . . . Soprano ariaTheir sound is gone out into all lands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ChorusWhy do the nations so furiously rage together? . . . . . . . . . . . . . . . . . . . . . Bass ariaLet us break their bonds asunder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ChorusHe that dwelleth in heaven shall laugh them to scorn . . . . . . . . . . . . Tenor recitativeThou shalt break them with a rod of iron . . . . . . . . . . . . . . . . . . . . . . . . . . . Tenor ariaHallelujah . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Chorus

Part IIII know that my redeemer liveth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Soprano ariaSince by man came death . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ChorusBehold, I tell you a mystery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Bass recitativeThe trumpet shall sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Bass ariaWorthy is the Lamb that was slain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ChorusAmen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Chorus

Please join the Chamber Choir for some Christmas treats in the Canada Company Hall,after the performance!

Musica Viva Orchestra

Violin 1Rona Goldensher Michelle Odorico Bijan Sepanji

Violin 2Valerie Sylvester Sheila Smyth Catherine Hewson

ViolaAnthony Rapoport Elena Spanu

CelloMary-Katherine Finch Rebecca Morton

ContrabassJeffrey Stokes

TrumpetShawn Spicer Paul Sanvidotti

TimpaniAndrew Rasmus OrganChristopher Dawes

Adopt and foster with us!Info sessions offered monthly

Contact Melanie @ ext. 2315 to learn

519-824-2410www.fcsgw.org

Program cont’d

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A Kitchener-Waterloo native, soprano SHEILA DIETRICH received her Bachelor of Music Performance and Opera Diplomas from Wilfrid Laurier University where she studied with Victor Mar-tens, and more recently with Laura Pudwell . Described by Stephen Preece of the KW Record as “sparkling, secure, and ethereal”, she has been featured as a soloist with The Toronto Classical Singers under Jurgen Petrenko, The Elora Festival Singers and The Toronto Mendelssohn Choir under Noel Edison, TACTUS, and The Bach Elgar Choir under Howard Dyck . With a strong passion for ensemble music, Sheila has also worked with a wide assortment of choirs across Canada including Les Violons du Roy, Capella Intima, Luminous Voices, the parish choir of St . John the Evangelist in Elora, and The Guelph Chamber Choir, which she joined as sec-tion lead for their 2013-14 season .

Opera and stage credits include Belinda (Dido and Aeneas), Helena (A Midsummer Night’s Dream), Pitti-Sing (The Mikado), Mother (Amahl and the Night Visitors), and Abigail Williams (The Crucible) .

Upcoming performances include Messiah with the Guelph Chamber Choir, Mozart’s Requiem with the Toronto Classical Singers, Belinda (Dido and Aeneas) with Capella Intima, and her Carnegie Hall debut as Second Witch (Dido and Aeneas) with Les Violons du Roy .

DANIEL CABENA holds an Honours Bachelor of Music from Wilfrid Laurier University and a Doctorate of Music from l’Université de Montréal . He has also taken part in numerous workshops and academies, including the Centre for Opera Studies in Italy, l’Académie Internatio-nale de Musique de Comminges, l’Académie Baroque Européenne d’Ambronay, and the Britten-Pears Young Artist Programme, for which he was assisted by the Canadian Aldeburgh Foundation .

Thanks to the generous support of the Canada Council for the Arts, Mr . Cabena completed a Master in Specialized Early Music Performance in June 2012 at the Schola Cantorum Basiliensis, where he studied with Gerd Türk . That same year he was the recipient of the Virginia Parker Prize, and he is a past recipient of the Bernard Diamant Prize, both from the Canada Council for the Arts . He was also the third prize winner of the 2011 Baroque Singing Competi-tion of Froville, France .

Mr . Cabena has taken part in broadcasts for CBC/Radio-Canada, National Public Radio in the United States, Schweizer Radio in Switzerland, SWR 2 in Germany, and for France Musique in France . He appears on recordings on the Analekta, ATMA, Chest-nut Hall, Dorian, Deutsche-Grammophon, Naxos and URSH labels . His engagements this season include appearances in Switzerland, France, Austria, Germany, Iceland and Canada .

Tenor CHRIS FISCHER has earned a reputation as a flex-ible and intelligent musician with a multi-faceted career in the areas of solo and choral performance, church music, and private teaching and accompanying . A section leader of the Guelph Cham-ber Choir since 2002, he has participated in three recordings – featuring as a soloist on the 2010 CD, Christmas in the Royal City – and two international tours (to Austria and the Czech Republic in 2006 and to England and Wales in 2012, where he was recital organist) . Chris has appeared many times as a solo artist with this ensemble, most recently in last season’s groundbreaking performance of Mendels-sohn’s oratorio Elijah with the Musica Viva Orchestra on period instruments . This season he returns in a solo capacity with the GCC for Haydn’s Mass in Time of War, Handel’s Messiah, and Mozart’s Requiem .

Operatic credits include the roles of King Caspar in Menotti’s Amahl and the Night Visitors, Don Basilio in Mozart’s The Marriage of Figaro, and the Narrator in Ruth: a Musical Drama, by Canadian composer Ronald Beckett . Chris has recorded with Arcady, Oakville Mas-terworks, and the Elora Festival Singers .

British-Canadian ALEXANDER DOBSON has been praised for his musicality and dramatic awareness on both opera and concert stages . Recent highlights include title roles in both Wozzek and Don Giovanni conducted by Yannick Nezet-Seguin, Papageno in Die Zauberflöte with Opera Hamilton, Mercutio in Roméo et Juliette for l’Opéra de Mon-tréal, Silvio in Opera Quebec’s Pagliacci, Marcello in BRAVO’s TV rendition of La Bohème, and made he his Royal Opera Covent Garden debut with The Midnight Court . Recent concert work includes Messiah with the National Arts Centre Orchestra, Philadelphia Orches-tra and Vancouver Chamber Choir, Bass soloist for the past two summers at the Carmel Bach Festival, the Count in Against the Grain’s production of the Marriage of Figaro, which won a Dora for best new Opera Production, St. Mathew Passion with Orchestre Metropolitain with Yannick Nezet-Seguin conducting and Guglielmo in Cosi fan Tutte with Opera Lafayette performing in Washington DC, New York and Versailles .

Tel 519-822-0160 | 800-263-1032240 Victoria Road N. Guelph, ON

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Program cont’d

Program NotesGeorge Handel’s oratorio is Britain’s best-loved choral work . But without its links to the Foundling Hospital, one of Georgian London’s leading charities, we might never have known it .

Here’s a good pub quiz question: In which piece of music, apart from Messiah, did Handel include his famous

“Hallelujah Chorus”? Answer: the ”Foundling Hospital Anthem .” The composer frequently recycled sections of his own music: his coronation anthem “Zadok the Priest” appeared in his later oratorio Esther, his oratorio Israel in Egypt borrows from his funeral anthem for Queen Caroline, Messiah itself bor-rows from his early Italian duets . This was common practice

– Handel didn’t just borrow from his own work, he also bor-rowed from Telemann, Muffat, Bononcini and others, so much so that Handel’s contemporary, the composer William Boyce, said of Handel: “He takes other men’s pebbles, and polishes them into diamonds .” . Perhaps another less well known part of Messiah’s story and Handel’s music is its intimate connec-tion to the Foundling Hospital, and the composer’s lifelong support of the UK’s first children’s charity, which continues today as the children’s charity Coram .

Writing opera was a financially precarious business, then as now . In 18th-century England, it was up to the com-poser to rent the theatre, hire the singers and musicians, and pay for costumes and scenery. Profits were hard to come by and the Italian operas Handel had been writing in the early years of his London career were falling out of fashion . In developing the English oratorio, the composer found a way to capitalise on the power of an orchestra, soloists and a choir of voices, while dispensing with the need for expensive sets, costumes and props .

However, oratorios, like operas, still required a large per-forming venue . For the London premiere [of Messiah in 1743], Handel rented the Covent Garden Theatre from his friend John Rich for a week’s run . Although a popular form of entertain-ment, the theatre was considered disreputable by most and even sacrilegious by some, and was deemed an inappropri-ate place to perform the sacred story of the Messiah . Indeed Handel was so concerned about objections that he sup-pressed the word “Messiah” in advertisements – the work was listed only as “A new sacred Oratorio” . But even so it wasn’t a success, as noted by the Earl of Shaftesbury in his memoirs .

Had it not been for a newly established children’s char-ity, the Foundling Hospital, Britain’s dearly loved choral work could have shared the fate of many of Handel’s operas and faded into obscurity .

Following 17 years of campaigning, the philanthro-pist Thomas Coram was granted a royal charter in 1739 by George II to establish a new charity to care for the babies and children that would otherwise have been abandoned on doorsteps and rubbish heaps by desperate mothers who had nowhere else to turn .

Unusually, one of its founding governors was an artist, William Hogarth . A committed supporter of the Foundling Hospital and a canny entrepreneur, Hogarth realised that if the charity were to succeed, it needed to establish itself in the public’s imagination . Hogarth persuaded leading artists such as Joshua Reynolds, Allan Ramsay and Thomas Gains-borough to donate works . In the mid-18th century, there were no public art galleries. By effectively creating at the Hospital the UK’s first public art gallery, Hogarth gave the public a reason to visit and the hospital rapidly became one of the most fashionable charities in London .

Whether Handel was inspired by the astute creative philanthropy of his artist colleagues, we will never know . What is certain is that he recognised the Foundling Hospital chapel’s potential as a performance venue that was free from the troublesome associations of the theatre . In May 1749, he approached the hospital’s governors and offered to conduct a benefit concert. The programme included the first performance of Handel’s “specially written” “Foundling Hospital Anthem .” The music was borrowed in part from his funeral anthem for Queen Caroline, his oratorio Susanna, and music by Lotti and Kuhnau, ending with the “Hallelujah Chorus,” lifted directly from Messiah – a work that few of his audience would have known .

Thereafter, Messiah was performed each year in the Foundling Hospital chapel, for the benefit of the charity, a tradition that continued until the 1770s . Handel conducted or attended every performance until his death in 1759 . These concerts not only helped secure the Oratorio’s place in the nation’s affections, they succeeded in raising a huge sum of money for the charity .

As a final act of generosity, Handel left in his will a fair copy of the Messiah score to the governors of the Foundling Hospital, thus enabling the charity to continue staging the benefit concerts – which they could not have done without the performing parts available for them to use . The score and parts were delivered to the hospital three weeks after Handel’s death, and can be seen still today on display in the Foundling Museum, alongside his original will .

Caro Howell, Director of the Foundling Museum

How Handel’s MessiaH Helped london’s orpHans – and Vice Versa

Neil WilsonPresident

phone 519-824-9344fax 519-824-1701

[email protected]

UNIVERSITY SQUARE PHARMACY

(519) 763-3301 987 GORDON STREET (KORTRIGHT ROAD)

How You Can HelpBirth of the Child Protection Movement in GuelphUp until the mid–late 19th century, Ontario society depended on religious or charitable organizations and volunteer community groups to care for neglected or abandoned children . Some of these children entered apprenticeships, some were given a temporary or per-manent home in return for their labour/domestic service, while others were placed in orphanages or shelters staffed by volunteers.

The Wellington County House of Industry and Refuge (now the Wellington County Museum) officially opened its doors December 1877 to the poor and homeless in the community . The oldest known state supported poor house in Canada still standing, this provincially funded relief institute was what passed for welfare in 19th century Ontario—even into the 20th cen-tury . Many orphaned or abandoned children were also admitted . Children were placed in the institution until they could be apprenticed or bound out to an individual or family in the community . Often indentured service was called “adoption” although this definition by no means guaranteed that the child would have rights as an heir but was a more formalized version of apprenticing .

Child welfare roots are located in the foundation of the Toronto Humane Society in 1887 with the Toronto Children’s Aid Society becoming an organization in 1891. Shortly after, a fledgling Guelph Humane Society was founded. Within the first few years of operation, the executive committee recognized that the protection and care of children had become their primary function resulting in the establishment of the Children’s Aid Soci-ety of Guelph and Wellington . Now known as Family & Children’s Services of Guelph and Wellington County, the work of supporting vulnerable families and protect-ing children and youth continues .

Tomorrow’s Messiah Sing-A-Long PerformanceTickets are not required . Donations are being accepted in lieu of tickets for the performance . All donations will go to support the Children First Fund which has been

established by Family & Children’s Services of Guelph and Wellington County to provide financial assistance to important programs not currently funded through the Ministry of Children and Youth Services . Donation enve-lopes will be available and charitable tax receipts issued for donations over $25 .

Youth (17-21) in foster care need to be living inde-pendently far sooner than the average Ontario youth . (In Ontario 51% of young adults 20-29 reside at home .) For many youth in foster care this is not an option .

So when you don’t have the privilege of having a family... youth ask... “Who is going to buy my birthday cake this year? Who is going to remember me?”

Former Youth in Care, Youth Leaving Care Hearings, 2012

Education Support Program—assists fostered youth with post secondary education costs including tools or supplies associated with their programs . Examples include:

• Course tuition• Costly program textbooks• Scrubs for nursing program• Instruments for a dental hygienist program• Knives for culinary arts program• Tools for a specialised mechanics apprenticeship

Enrichment Program—Children and youth exposed to higher levels of stress, violence, addictions, and mental health issues often have greater challenges at school, in their health outcomes and can be more vulnerable in general . All of the children in fostered care are encour-aged to hold a dream for their future and to reach for it . The Enrichment Program helps to open the doors of opportunity for these children, youth and young adults to attain their full potential . Examples include:

• Entrance fees to a competitive, qualifying event • Upgrading a musical instrument • Participation in a Financial Literacy Program geared

to this vulnerable group• Accessing a “family” style holiday meal with fellow

youth in care also living without family .

Of Note

Save $10 off the adult ticket price for our spring concert, by using the purchase code GIFT.

Of Note

Please consider a donation...

Your donation will support the Guelph Chamber Choir’s efforts to present you

and our community with inspired choral music to stir the human spirit. You will receive a tax receipt, acknowledgment in the concert programs and our sincere thanks for your contribution toward making this season a wonderful success. Please make your cheque payable to:

Guelph Chamber ChoirBox 513, Guelph, Ontario N1H 6K9

– Charitable Registration # 87575 6769 RR0001

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and our community with inspired choral music to stir the human spirit. You will receive a tax receipt, acknowledgment in the concert programs and our sincere thanks for your contribution towards making this season a wonderful success. Please make your cheque payable to:



Donation Levels:




Name: ...................................................................................................................

Address: ...................................................................................................................

City: ............................................................... Postal Code: .............................

Email: ...................................................................................................................






and our community with inspired choral music to stir the human spirit. You will receive a tax receipt, acknowledgment in the concert programs and our sincere thanks for your contribution towards making this season a wonderful success. Please make your cheque payable to:



Donation Levels:




Name: ...................................................................................................................

Address: ...................................................................................................................

City: ............................................................... Postal Code: .............................

Email: ...................................................................................................................




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Give a gift of beautiful musicAll proceeds support the Guelph Chamber Choir

Recordings ON SALE tonight!Only $10 each or 3 for $25

ON SALE Tonight

Program

Our PeopleThe Guelph Chamber Choir was founded in 1980 to foster the develop-ment and appreciation of choral music in Guelph and the surrounding area . Consisting of highly talented but mostly amateur singers from a

wide range of occupations, the choir is proudly presenting its 35th season this year with four concerts . Its repertoire ranges from Renaissance masters to newly commis-sioned works, from classical styles to Broadway and vocal jazz, and from masterworks for choir and orchestra to choral gems for unaccompanied voices .

In addition to its regular series of concerts, the GCC has performed in numerous festivals, including the Llangollen International Eisteddfod in Wales (3rd place winner in the Mixed Choir Category), Toronto International Choral Festival, Guelph Spring Festival, Elora Festival, and festivals in Salzburg, Austria, and the Czech Republic . Exciting collaborations include work-ing with Dancetheatre David Earle, professional choirs, regional choirs, community choirs, and orchestras such as the Kitchener-Waterloo Symphony and Orchestra London . Some of our most engaging concerts have been accompanied by period instrument specialists from Toronto and southern Ontario .

The GCC has performed in England, Wales, Ireland, Austria, the Czech Republic, Holland, Germany, Sweden and Denmark, has been broadcast on CBC Radio, and has won prizes in the CBC National Competition for Amateur Choirs . Recordings include Noel, On Christmas Night; Songs of the New World; Good Cheare: Christmas Celebrations Old and New (with the Oliver Whitehead Jazz Ensemble), Christmas in the Royal City, and Remember .

Gerald Neufeld has been conductor of the Guelph Chamber Choir since its founding . He holds the degree of Doctor of Musical Arts from the University of Iowa and is presently a pro-fessor in the Don Wright Faculty of Music, Western University, where he conducts choirs and teaches choral conducting . Previously, he taught in the music department of the University of Guelph and conducted the University of Guelph Choir with which he toured in Britain and Europe on two occasions . Under his direction, the Guelph Chamber Choir, the University of Guelph Choir, the Faculty of Music Singers, and the Thames Scholars from Western University all won prizes in the CBC National Competition for Amateur Choirs .

Gerald Neufeld is a previous winner of the Leslie Bell competition for choral conduc-tors . He has served on juries for the Canadian recording industry’s Juno Awards, the Leslie Bell Competition and the Guelph Spring Festival national vocal competition . He is active as a choral clinician, festival adjudicator, and lecturer on topics of special interest in the choral field.

Alison MacNeill is a graduate of the University of Guelph music program, and of the Royal Conservatory of Toronto . Born in Guelph, she returned to the area to live and work fol-lowing graduate work at the University of Western Ontario, where she had studied piano and theory with Ronald Turini and Richard Parks .

Alison is active as an accompanist and chamber musician, and has been, at various times through the years, pianist for the University of Guelph Choir, the Elora Festival Singers, the Guelph Youth Singers, and the Rainbow Chorus of Waterloo-Wellington, as well as with many other ensembles and soloists .

She maintains a large teaching studio and is the Director of Music Ministry at Harcourt Memorial United Church . She has been the accompanist for the Chamber Choir for much of its existence, performing and touring with the ensemble .

Board of directorsPresident Brad Halls | Secretary Dorothy Fisher | Treasurer Bob HousserMembers at Large Lew Abbott, Mei-fei Elrick, Jean Hilborn, Ann Murray, Sally StelterAdministration Patricia Eton-Neufeld | Marketing Ken McRory Concert Promotions Brenda Lewis

We are an active, working Board and we have opportunities to serve. If you are interested, please contact Brad Halls at 226-383-7537.

GuelpH cHaMBer cHoir 2014–2015

SopranosAnna DolsenLaura HarpJane HouldingBeverly KrzmarcikMarg McKenzie-LeightonPatricia Ramos WardSally StelterTammy teWinkelFelicia UrbanskiAlison Vicary

Altos Lynn BeathJanice ColesCarolynne Davy GodinAvis DevineJoanne GonsalvesMegan HodgeNancy JacksonNaomi MatsuiLaurie McDonaldAnne McKenzieSusanne Schmidt-McQuillan

TenorsNaoki ChibaLanny FlemingKen FreyBrad HallsHarold JacksonStephen RolosonLawrence SugdenPeter Thompson

BassesKen CareyMark HaslettBrian JanzenAndrew McLarenNeil McLarenKen McRoryGraham NancekivellMatthias SchmidtJames A . WalkeScott Worsfold

Our ThanksWe would like to thank our supporters who made valuable financial contributions to the Guelph Chamber Choir.

Please consider a donation, by completing the form on page 9 or online using CanadaHelps.org

Conductor’s Circle ($1,000 & up) Urve & Lewis Abbott Mary Lou & Doug Brock Naoki & Christina ChibaNancy & Harold JacksonPatricia Eton-Neufeld & Gerald Neufeld In Memory of Connie McLarenHarry & Mary-Jane Oussoren Spaenaur Anonymous

President’s Circle ($500 & up) James Ford & Brenda Coomber Eleanor DavidsonBrad & Heather Halls Mark Haslett & Jane HouldingKen McRorySandy & Ann Middleton Sally & Gil Stelter Susan & Peter Thompson Anonymous

Chorister’s Circle ($250 & up) Lynn & David BeathAlice & Ken CareyBarbara Friend Derek Hall John Kieffer Angelina LamSarah LoweMarta McCarthyWarren & Margaret McKenzie-LeightonSheila & Neil McLaren Marilyn Robinson Murray Harold & Marilyn QuinnDr . Stephen SomertonJonathan Spaetzel Ruth Tatham Bruce L . Taylor Margaret Wade Anonymous

Patrons ($100 & up) Carol Allison Dr . Kate AndersonHarold AndresDr . Robert BaileyJohn & Rochelle Barnum Frank & Janet BrewsterBarbara Buttars Dr . Jennifer CaspersMikio & Kyoko ChibaGary & Wynne ChristieJanice ColesWilliam & Muriel CoxDave Davidson & Alison VicaryCarol Davy

Dr . Shah & Donnita DeenKen & Suzanne Embree Dr . Robert Enns Ben & Norma Fear Dorothy & Ken FisherTerrence Flaherty Joanne GonsalvesBarbara & Orland GreenJoanne GrodzinskiDr . Tatiana GoluDr . Michael GouldLaura HarpGordon Harris Cas & JoAnne HeroldDr . James HewakWendy HickeyMegan Hodge Rhoda HolzDr . David & Rosemary HoodDr . F . IncittiD .R . Johnson Financial Services Inc .Ken & Isobel King Audrey KitchingAdrian Levytsky & Karen SlatkovskyAkiko LinRon & Mel MacDonald Dr . Norman Marcon Laurie & Terry McDonaldAnne & John MonkhouseMargaret MoonMichel MoreauDr . T . Morris David & Ann Murray Linda Neufeld BuhrEd ReifelCarl & Yvonne Rosenquist J . Douglas Sanderson Dr . Ranjit & Elspeth SinghDavid & Marie SmithMatthew W . StanleySurrey Street Prescriptions Inc .Gary SvobodaDr Tom Tobin Felicia Urbanski & Larry SquireLane & Sya Van Geest James A . WalkePeggy WilloughbySeveral Anonymous Donors

Friends ($50 & up) Douglas Auld Jeffrey AxlerJudith BellJoan BowlandJulie Chiba BransonDr . Ben ChanDr . Marcel Dore

Carol Ann & David Douglas G Jean Elliott Dr . Scott Elliott Patti GalvinMarilyn GiffordDonna Gorjup Robin GowSharon HamiltonDr . Donald HubandEarl JarvisDraga Jichici George LangeGerard Luyckx Blair & Elizabeth MacNeillSarah MainguyPatricia MartinMary MatsuiDr . Andrew MaykutDouglas & Anna McCalla Dr . David & Sonja MorganSharon NancekivellMark NeufeldHenry OrrDr . Dan & Heather SadowskiGabriel Scullion Dr. Cary ShafirMarianna SlatkovskyRichard & Debra SpeersNancy & John Steele21 Surrey St . Holdings Inc .Sherron ValerioteSeveral Anonymous Donors

Community SupportGuelpH cHaMBer cHoir

P .O . Box 513, Guelph, ON N1H 6K9

Phone 519-836-5103Email info@guelphchamberchoir .caWebsite www .guelphchamberchoir .ca

Box officePhone (519) 763-3000On-line www .riverrun .caHours Mon-Sat 11am-6pm Administration (519) 837-5662

accessiBilityRiver Run Centre is proud to be completely acces-sible for patrons and performers with special needs . Wheelchair locations are available in both halls. Please inform the Box Office when pur-chasing tickets . Infrared headsets for the hearing impaired are available at the Coat Check prior to the performances .

tHeatre etiquetteSo that everyone can enjoy the performance, and in consideration of the artist, please note that latecomers will be seated at a suitable break; beepers and cellular phones and watch alarms must be muted; and the use of recording devices or taking of photos is prohibited .

scentsIn consideration of those who have allergies, please refrain from using perfume or cologne .

cHildrenWe welcome children, but please remember that everyone must have a ticket, regardless of age . In consideration of the audience, and for safety, babies will not be admitted to the performance .

GRANTS GRATEFULLY RECEIVED FROM

corporate friends (under $500)Edinburgh Optometry ClinicBob Housser PhotographyKKP—Kwik Kopy PrintingSaunder’s Bakery, RockwoodSteele Bros . (Guelph, 1986) Ltd .TD Canada Trust—Arthur Branch

proMotional partner

concert sponsors

soloist sponsors

Heartfelt tHanKs to our coMMunity sponsors:

handel’s messiah - guelph chamber...

Documents