Making music in West London ST MATTHEW'S CONCERT CHOIR
Soloists from the
Guildhall School of Music and Drama
Stabat Mater
Opera choruses and Arias
St Matthew's Church
North Common Road Ealing W5 2QA
St Matthews Concert Choir Susana Gaspar, Soprano
Catia Moreso, Mezzo Soprano
Fenella Humphries, Leader
Alberto Sousa, Tenor
Phiroz Dalal, Conductor
Ricardo Panela, Baritone
Jennifer Carter Piano
Giunse al Fin, Deh vieni Le Nozze di Figaro Susana Gaspar, Soprano Bridal Chorus Treulich geführt Hai gia vinta la causa Le Nozze di Figaro Ricardo Panela, Baritone Chorus of the Hebrew Slaves Va, pensiero, sull'ali dorate Lunge da lei—De miei bollenti spiriti Ricardo Panela, Tenor When I am Laid, With Drooping wings Catia Moreso, Mezzo Soprano Rossini: Stabat Mater
Chorus and Quartet Duet: Soprano / Mezzo Soprano Recit: Bass with Chorus Cavatina: Mezzo Soprano Aria: Soprano with Chorus Gioachino Rossini was born in Pesaro, Italy on 29 February 1792, and died in Passy, France on 13 November 1868. He began work on his Stabat Mater in 1831, but it was not premiered until 1842, in Paris. Rossini is best known for his comic and serious operas, such as Il barbera di Seviglia (1816) and his final opera, Guillaume Tell (1829). He composed three sacred works, Messa di Gloria (1820), Stabat Mater (1831) and finally as part of his ‘sins of old age', the Petite Messe Solonelle (1863). Stabat Mater is a lamentation on the grief of Mary, the mother of sorrows (Mater dolorosa). It is a series of twenty verses, each three lines long. The first section, movements one to four, tells of Mary's torment. Movements five to nine are deeply impassioned expressions of empathy, and the text ends with the traditional ‘In sempiterna saecula', forever and ever. The Stabat Mater is rich with descending chromatic themes, from the first movement to the last, most notably in the opening movement when it is used to accompany the line ‘Dum pendebis Filius', and many other examples are found throughout the work. As Rossini was known for his comic operas, his sacred works were perhaps not taken as seriously as they might have been. Movements two to four clearly show his roots as an opera composer. There is a stylistic relationship with his secular works, but he has omitted the operatic temperament, kept the ornamentation to a minimum, and not explored the extremes of range that he would have done for the theatre. All relationship with the theatre is abandoned in the unaccompanied bass and chorus recitative, Eja Mater. This and movement nine, Quando Corpus are calming, settling movements before much bigger and stormier movements. In movement eight, Inflamatus, the power, rhythm and dark harmonies depict the day of judgement, and later to the words ‘Quando corpus morietur' in movement nine. The work ends, as it begun, in G minor, and the principal theme of the first movement returns as a mournful introduction to the closing section. There has been one previous performance of this work by St Matthews Choir, on 12 May 2002, when it was paired with Verdi's Four Sacred Pieces.

Born in Portugal, Susana Gaspar studied at the National Conservatory of Lisbon and Guildhall school of Music and Drama where she was kindly supported by the Worshipful Company of Cordwainers, Vasconcellos Award, Calouste Gulbenkian Foundation and the Derek Buttler Trust. She is a trainee at the National Opera Studio studying with Susan Waters. Her NOS studies are supported by The Royal Opera House, and Anne and Dipesh Shah. Susana joins the Jette Parker Young Artist Pro-gramme at the ROH in September. Her previous roles include: Lauretta Gianni Schicchi (Teatro Nacional de São Carlos /Lisbon); Mimi La bohème (BYO); Papagena Die Zauberflöte, Serpina La serva padrona (National Conservatory of Lisbon), Euridice Orfeo ed Euridice (Setubal and Mafra/ Portugal), Dircea and Mochila Para obsequio a la deidad nunca es culto la crueldad e Iphigenia en Tracia (Zurich, Turicum Ensemble); title role Little Prince; Josephine Comedy on the Bridge ( Teatro da Trindade Lisbon). She has sang extensively in several international venues such as Calouste Gulbenkian Foundation (Lisbon), St.Martin in the Fields (London), Grossmünster (Zürich), Paxos Chamber Music Festival in Greece, Les Azuriales Young Artist Programme (Nice). She was a finalist in the Richard Tauber Prize at the Wigmore Hall (2010) and in the Gold Medal Singing Competition at the Barbican (2009). She won the first Melodie/Lieder and Portuguese Song Prizes, the Algarve's Musical Award at the IV Portuguese Rotary Singing Competition 2010. Cátia Moreso was born in Lisbon, Portugal. She won the second and public prize in Primeiro Concurso de Canto Lírico da Fundação Rotária Portuguesa, the Bocage prize in Concurso de Canto Luisa Todi, the first prize in Segundo Concurso de Canto Lírico da Fundação Rotária Portuguesa and the first prize in Prémio José Augusto Alegria in Portugal. Her oratorio performances include Mozart's Requiem, Bach's and Pergolesi's Magnificat, Vivaldi's Gloria and Magnificat, Pergolesi's Stabat Mater and Rossini's Petite Messe Solennelle. She has also performed the Berio's Folksongs, Ligeti's Aventures, Cicero Dixit by Cristopher Bochman (world première). Her opera roles include Eva in Comedy on the Bridge, Second Witch and Spirit in Dido and Aeneas, Page in Salome (Teatro Nacional de São Carlos), Giovanna in Rigoletto (Óbidos), Proserpina in Euridice (BYO), La Baronne in Cherubin (GSMD), Elisa in La Spinalba (GSMD) and Madame de Croissy in Les Dialogues des Carmélites (GSMD). In 2009 she gained BMus (Hons) with distinction. She has just completed her opera course at Guildhall School of Music and Drama and is currently working with Glyndebourne Chorus.

Alberto Sousa was born in Madeira, Portugal. He graduated in Music (Voice - Performance and Teaching) at Universidade de Aveiro with António Salgado. Currently Alberto is in the second year of GSMD Opera Course, studying with Laura Sarti, and sponsored by the Worshipful Company of Ironmongers. Alberto won the first prize at the "3º Prémio José Augusto Alegria" in 2009. His operatic roles include: Monostatos Die Zauberflöte Mo- zart, Orfée Orfée aux Enfers Offenbach, Macheath Die Dreigroschenoper Kurt Weill, Gherardo Gianni Schicchi Puccini, Boy 1 Trouble in Tahiti Bernstein, Witch Hansel and Gretel Humperdinck, Leandro La Spinalba Almeida, Kaspar Amahl and the Night Visitors Menotti, L'Aumonier Les Dialogues des Carmelites Poulenc. His oratorio roles include: Te Deum Charpentier, Te Deum Bruckner, Messa Regina Caeli Pietro Yon, Messe in G Schubert, Missa in Angustiis "Nelson Mass" Haydn, Kronungsmesse Mozart, Oratorio de Noël Saint Saëns, Petite Messe Solennelle Rossini, Magnificat Bach, St. Paul Mendelssohn, Messiah Handel. Ricardo Panela is currently training at the Guildhall School of Music & Drama under the direction of Laura Sarti. He also holds a degree in Vocal Performance and Pedagogy which he took at the University of Aveiro, under António Salgado. He has participated in Masterclasses with Patricia MacMahon, Susan McCulloch, Robin Bowman, Enza Ferrari and the singers Emma Kirkby and Montserrat Caballé, amongst others. His solo concert repertoire includes: Bach's Cantata 147, St. John and St. Matthew's Passion, Te Deums by Charpentier and Lully, Oratotio de Noel by Saint-Saens, Don Quichotte à Dulcinée (orch. version) by M. Ravel, Coronation Mass and Confessor's Vespers by Mozart, Missa in Angustiis by F.J. Haydn. In Opera, he was Guglielmo in Così fan tutte, Papagueno in The Magic Flute, Buff in The Impresario, all by Mozart; and Ballad Singer/Mr. Filch in The Threepenny Opera by K. Weill. Future engagements include Handel's Messiah with Laurence Cummings at Casa da Música - Oporto.

Born in 1985, Jennifer Carter studied at the Junior Department of the Royal Welsh College with a full scholarship from 2000-2003, winning the Elgar Recital Prize. At 17 she was invited to play for Robin Bowman's classes in France and in the Guildhall School of Music, as well as winning a scholarship to study at the Guildhall. She studied at the GSMD from 2003-2009 with Caroline Palmer, Paul Roberts, Robin Bowman, and Eugene Asti. Jennifer has performed in masterclasses with Chris Elton, Andrew Ball, Michael Dussek, and Martin Roscoe and appeared on the Welsh BBC aged 16 playing in a masterclass with Richard MacMahon. Jennifer won the Queen Mary II accompanist prize in 2009, and continues to accompany for the Guildhall. In 2010 Jennifer enjoyed playing at Kings Place, the Barbican Centre, LSO St Luke's, St Martin-in-the-Fields and St John's Smith Square, and also in Guernsey, Germany and France. Much in demand as a chamber musician, soloist and orchestral leader, Fenella Humphreys is violinist with critically acclaimed piano trio the Lawson Trio, and leader of the Deutsche Kammerakademie in Germany. She has performed at prestigious festivals including the International Musicians' Seminar, Prussia Cove and the Bath International Festival, collaborating with such artists as Martin Lovett and Pekka Kuusisto. Recent performances have taken Fenella across the world, and she has broadcast for BBC Radio 3, Classic FM, German and Korean radio, and Canadian TV. Highlights for 2011/12 include recitals at the South Bank Centre and Bridgewater Hall, and concerto performances in Ger-many, as well as participation with the Lawson Trio in the final rounds of the Melbourne International Chamber Music Competition. An Ealing Girl, Fenella has returned to the area and enjoys being involved in a wide range of local musical events. You can keep up to date with Fenella's performances at: Phiroz Dalal‘s music training began at a young age when he studied piano to Grade VIII with Eileen Rowe in Ealing, and when he began singing with his school and St Matthew's Choir. While studying Civil Engineering at King's College, London , he was able to pursue his musical interests by joining various central London choirs and also acting as an accompanist for singing lessons and choirs. He started conducting in 1999 when he succeeded Tim Godfrey as Questor's Choir's Musical Director, and moved to St Matthew's in 2002, succeeding Chris Richardson. He studied Choral Education at the University of Roehampton under Dr Therees Tchack Hibbard, Professor Colin Durrant and Bob Chilcott, gaining an MA in 2008. His conducting and chorus master repertoire is extensive, from sublime 16th century motets to complex works such as Tchaikovsky's Eugene Onegin. He sings with the BBC Symphony Chorus, regularly appearing in the Proms, recently appearing in performances as diverse as Monty Python's Not the Messiah and Poulenc's Figure Humaine. As a project manager and chartered engineer he is part of the London 2012 management team. Stabat Mater
Gioachino Rossini
1. Introduction; Stabat Mater
Chorus and Quartet
Stabat Mater dolorosa The grieving Mother stood Juxta crucem lacrimosa Weeping beside the cross Dum pendebat Filius Where her Son was hanging 2. Cujus Animam
Aria: Tenor
Cujus animam gementem Whose saddened soul Contristatam et dolentem Sighing and suffering Pertransivit gladius A sword passed through O quam tristis et afflicta O how sad and afflicted Fuit illa benedicta Was that blessed Mother of the only-begotten Quae moerebat et dolebat, Who was grieving and was suffering Et tremebat cum videbat and trembled at the sight Nati poenas incliti of the torments of her glorious son 3. Quis est homo
Duet: Soprano and Mezzo Soprano
Quis est homo qui non fleret, Who is man who would not weep Christi Matrem si videret at the sight of the mother of Christ In tanto supplicio? in so much distress Quis non posset contristari, Who can not be distressd Piam Matrem contemplari To see the mother of Christ Dolentem cum Filio? Suffering with her son. 4. Pro Peccatis
Aria: Bass
Pro peccatis suae gentis For the sins of his people Vidit Iesum in tormentis, She saw Jesus in torment Et flagellis subditum. And subjected to whips Vidit suum dulcem natum She saw her sweet begotten Moriendo desolatum Dying, foresaken Dum emisit spiritum While he gave up the spirit. 5. Eja, Mater
Recit: Bass with Chorus
Eja Mater, fons amoris O mother, fount of love Me sentire vim doloris Make me feel the force of your grief Fac, ut tecum lugeam Grant that I may mourn with you Fac, ut ardeat cor meum Grant that my heart may burn In amando Christum Deum In the love of Christ, my God Ut sibi complaceam That I may please him 6. Sancta Mater
Sancta Mater, istud agas, Holy mother, may you do this Crucifixi fige plagas Ficx the stripes of the crucified Cordi meo valide. Firmly into my heary Tui nati vulnerati, Share with me the pains Tam dignati pro me pati, of your wounded Son Poenas mecum divide. Who suffered for me Fac me vere tecum flere, Grant that I may weep with you Crucifixo condolere, To suffer with the crucified Donec ego vixero. As long as I shall live Juxta crucem tecum stare, To stand with you beside the cross, Te libenter sociare To join with you In planctu desidero In deep lament is my desire Virgo virginum praeclara, Virgins of virgins most excellent Mihi iam non sis amara Be not bitter with me now Fac me tecum plangere Grant that I may mourn with you 7. Fac ut Portem
Cavatina: Mezzo Soprano
Fac, ut portem Christi mortem Grant that I may bear Christ's death Passionis eius sortem, Mke me a sharer in his passion Et plagas recolere. And contemplate his wounds Fac me plagis vulnerari, Let me be wounded by His wounds Cruce hac inebriari, By His cross, affected, for the love of your son 8. Inflammatus
Aria: Soprano with Chorus
Inflammatus et accensus Burning with sorrow and love Per te, Virgo, sim defensus Let me, defended by you, O virgin on the day of judgement Fac me cruce custodiri Let the cross protect me Morte Christi praemuniri and Christ's death Confoveri gratia confer grace on me 9. Quando corpus
Quando corpus morietur, When the body dies Fac, ut animae donetur Grant that my soul be given Paradisi gloria. Amen The glory of Paradise. Amen With our thanks to
Musical Director and Chorus Master
Phiroz Dalal Ken Williams Treasurer and librarian Karen Benny Alison Dalal Orchestral management Molly Thomas Colin Smith & co. Maureen O'Sullivan & co. Bernd Gauweiler Technical director David Benny Sound director and recording Ron Keefe Ben Sandford Richard Thomas Peter Cocup, Eleanor Britton, Dawn Slaughter, Zubin Dalal Programme design Phiroz Dalal Ealing Music Library .and to the Vicar and congregation of St Matthew's Church for their continued support. St Matthew's Church has an enviable reputation for the excellence of its music, both in concert and in the services. The concert choir's recent performances include Handel's Dixit Dominus, Orff's Carmina Burana, Rachmaninov's Vespers, Haydn The Creation, and Karl Jenkins' The Armed Man. The choir regularly collaborates with West London Sinfonia, and has performed Tchaikovsky's Eugene Onegin, Verdi's Requiem, and Mahler's Second Symphony with them. We will be performing Mozart's Mass in C minor with them on 11 June and would be delighted to hear from new members. Since 2003, St Matthew's Choir concerts have been projected on a big screen above the performers, meaning the audience is able to watch the normally unseen parts of the performance, such as pianists' or organists' fingers, and the conductor's face. The choir enjoys high musical standards and a full diary, and performs a wide variety of sacred and secular music. If you are interested in joining us feel free to have a chat with Alison Dalal, the Choir Manager. We are looking for additional singers for our next performance which de-mands a large choir so do join us if you love to sing. Rehearsals begin on Thursday April 7th at 7.30pm at St
Matthew's Church. Join us!


en el contexto de la etología y la antropología* Aggressiveness in the ethology and anthropology A agressão no contexto da etologia e a antropologia* Juan Alejandro Brando** • Argentina Recibido el 12 de septiembre de 2012, aceptado el 24 de enero 2013 ** Este trabajo es parte de la investigación conducente al doctorado en filosofía por la Universidad Nacional de Lanús, la cual fue parcialmente financiada por una beca de postgrado tipo II del Consejo

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