Yes, I was there, singing Berlioz’ extraordinary piece – the Grande Messe des Morts.  A requiem for the dead on a grand scale.  David Jackson, percussionist extraordinaire with the London Symphony Orchestra, took this photo of the timps section during rehearsal in the afternoon.  One of the players was a dead ringer for comedian Rob Brydon which intrigued me all the way through the rehearsal.  It was a noisy affair – the piece itself alternates between passages of great richness of sound and moments of sparseness.  (With more time I would hone my language in an attempt to convey something of this amazing piece).  And of course, in rehearsal, we shared the space with visitors to the cathedral with their murmurings and occasional applause.

The performance was altogether different.  Even with a full audience the sound space belonged to the performers and – more than the performers – to Berlioz.  The off-stage brass were high in the galleries so that the Tuba Mirum was a moment of high drama with the interplay between orchestra, off-stage brass and the men who were in fine sound.  I shall leave it to the critics to say more.

Singing in St. Paul’s is always a mixed blessing.  The sound reverberates around the space so that the old jokes are always about coming back in a week’s time to hear the performance for the last time.  There were moments when our conductor, Sir Colin Davis, paused so that we could, indeed, hear the sound before it faded away.  This is a new way of experiencing the phrase “right back atcha!”  This added to the heightened experience of an already grand piece.

At the same time, it is this very soundscape that makes it a challenging venue in which to perform.  You cannot rely on listening to know if you are singing in time!  There were moments when I thought fellow performers – singers, orchestra, off-stage brass – were ahead or behind Sir Colin’s beat and still, it’s hard to know what the effect was for the audience.

For me, it was something of a marathon.  Like all marathon runners, singers need the right shoes and the truth is that, for me, no shoes is the optimum way to stand for such a long period and also strictly verboten.  Still I might try it this evening (don’t tell my voice rep).  For yes, I’ll be performing again this evening before getting up at the crack of dawn tomorrow for a coaching session in the morning.  And now, I am on my way to meet one of my clients for another coaching session.

Before I press “publish” I take a moment to savour the rich privileges of a life in which I get to earn my living doing work I love and spend my spare time doing something else that I also love.  Maybe I’ll see you there this evening.