In the weeks leading up to the concert, I familiarised myself with the programme and schedule to ensure smooth coordination on the day.

The day before the concert, Margaret had to withdraw, necessitating the last-minute replacement of the accompanist. A new accompanist, Joyce, was promptly arranged and arrived on time. I welcomed her and escorted her to the studio after assisting Emily and Arthur with the positioning of the Steinway piano.

Due to a delayed start from Tonmeister Isaac, who had overslept, I signed out the required microphones on his behalf. After a brief phone call to confirm the setup plan, I began arranging the microphones on stands to streamline his workflow upon arrival.

To accommodate the new accompanist, I took responsibility for extending and restructuring the tech rehearsals. Michelle and Annie were unable to attend their scheduled slots and therefore rehearsed in PA1. Meanwhile, performers who did not require Joyce’s accompaniment completed their tech runs as planned. All performers received sufficient time to rehearse and refine their acts. Studio 1 was cleared and ready by 12:30.

Arthur maintained a log of equipment movements and was stationed at the greenroom door to manage transitions. I offered additional support where necessary. Emily prepared and distributed the concert programmes at the entrance.

I instructed Tonmeister assistant Finley to receive a full briefing and sit with Emily and me in the front row throughout the performance. This avoided disruption from personnel movement in and out of Studio 1 between acts.

Chris Wiley introduced the concert. Thanks to the calm and thorough planning by the entire team, the event proceeded smoothly and successfully.

We recently rehearsed for our Spring Concert, which took place on 5th April, and we are now preparing for the upcoming Summer Concert on 31st May. One of the pieces we are currently working on is Marianne, which I will also be performing as part of my final recital.

Through my involvement with the Big Band, I have observed significant improvements in the following areas:

·       Improvisation: Regular opportunities to solo have greatly enhanced my confidence and creativity in improvising within a jazz context.

·       Ensemble Balance: I have developed a greater awareness of dynamics and balance, allowing me to blend more effectively within the section and contribute to the overall cohesion of the band.

·       Musicality: My phrasing, articulation, and stylistic sensitivity have all improved through exposure to diverse arrangements and ensemble feedback.

·       Tone Production: Ongoing focus on breath control and embouchure has refined my tone, particularly in projecting a warm and controlled sound suitable for big band playing.

Overall, rehearsing and performing with the Big Band has been a vital part of my growth as a performer, providing regular, high-level ensemble experience and helping me prepare for solo and recital settings with increased confidence and skill. I am excited to share this ensemble on the 28^th.

From the opening chords, the orchestra, under the baton of Rafael Payare, established a sound world that was both majestic and ominous. The score's shifting textures and exotic harmonies were executed with clarity and colour, supporting the singers while maintaining strong dramatic momentum.

The title role of Turandot demands not only vocal strength but also dramatic presence, and the soprano Sondra Radvanovsky rose to the challenge with an icy authority that softened convincingly in the final act. Her delivery of "In Questa Reggia" was both technically secure and emotionally resonant, commanding the stage with every phrase. In contrast, the tenor, SeokJong Baek, portraying Calaf brought warmth and determination to his role, with a standout performance of the famous aria "Nessun Dorma," which drew a spontaneous and well-deserved ovation.

The chorus, a critical element in Turandot, was exceptional, blending power with precision in the massed scenes and contributing significantly to the opera’s heightened atmosphere. Particularly impressive were the choral passages in the riddle scene, which built tension and theatrical intrigue.

Staging and design were visually striking, combining traditional Chinese motifs with modern theatrical elements. Costumes and lighting worked in harmony to reflect the opera’s themes of power, transformation, and mystery. The production design balanced grandeur with emotional depth, ensuring that the visual spectacle never overshadowed the human drama at the heart of the story.

The ensemble delivered a performance of exceptional clarity, sensitivity, and precision. Their attention to blend, phrasing, and dynamic nuance was striking, particularly in the more texturally complex works. The acoustics of St Mary’s enhanced the vocal richness and intimacy of the performance, making for a deeply immersive experience.

The audience was filled with leading choral professionals, composers, and educators from across the industry, which contributed to a palpable sense of occasion. The standard of performance and the originality of the programme left me feeling inspired, both musically and creatively. It served as a reminder of the vitality and relevance of contemporary choral music and the importance of championing new voices in the repertoire.

Participating in the Chamber Choir has contributed to several key areas of growth:

·       Diction and Articulation: Singing in a variety of languages has sharpened my diction and clarity, skills which have translated directly to improved articulation in my trumpet playing.

·       Concentration and Musical Awareness: Navigating complex repertoire in different languages has enhanced my attention to detail and musical focus.

·       Wellbeing: Beyond technical development, regular choir rehearsals have had a positive impact on my mental health, providing a space for connection, expression, and enjoyment through music.

Overall, my experience with the Chamber Choir has not only broadened my musical abilities but also enriched my well-being and deepened my appreciation for ensemble singing.

Participating in the Chamber Choir has contributed to several key areas of growth:

·       Diction and Articulation: Singing in a variety of languages has sharpened my diction and clarity, skills which have translated directly to improved articulation in my trumpet playing.

·       Concentration and Musical Awareness: Navigating complex repertoire in different languages has enhanced my attention to detail and musical focus.

·       Wellbeing: Beyond technical development, regular choir rehearsals have had a positive impact on my mental health, providing a space for connection, expression, and enjoyment through music.

Overall, my experience with the Chamber Choir has not only broadened my musical abilities but also enriched my well-being and deepened my appreciation for ensemble singing.

Rehearsals took place on Tuesday evenings following Big Band sessions throughout the term. This consistent slot allowed us to build ensemble cohesion and develop a shared understanding of the piece’s character and technical demands.

The 10-piece brass arrangement of Tico Tico presents several challenges. The fast tempo, syncopated rhythms, and intricate articulation patterns require tight ensemble coordination and individual precision. Additionally, maintaining clarity and balance across such a large and powerful brass section—especially at speed—has demanded a high level of control, communication, and dynamic sensitivity.

To overcome these challenges, we began rehearsing the piece at a much slower tempo, focusing on intonation, rhythmic accuracy, and ensemble balance. As confidence and security in each part grew, we gradually increased the tempo to match the intended character of the piece. Sectional rehearsals and focused work on cueing and phrasing helped ensure tight coordination, particularly in rapid passages and off-beat entries.

This ensemble has been a joy to work with, and their commitment, musicianship, and attention to detail have been instrumental in bringing this exciting and technically demanding piece to life. I look forward to sharing the results of our work in my final recital.