"Massive ... impressive ... ominous ... extraordinary ..." The critics wrestled with their words to describe the scale and power of Prokofiev's Cantata for the Twentieth Anniversary of the October Revolution, performed under the baton of Maestro Vladimir Ashkenazy in Cardiff and London this month.
To stage the Cantata, Crouch End Festival Chorus joined a 150-strong Philharmonia Orchestra, the Philharmonia Voices and a brass band from the Royal Welsh College of Music and Drama.
Critics Paul Corfield Godfrey and Nigel Jarrett welcomed the visit from this rarely-performed work to Cardiff's St David's Hall on 18 May, where it was combined with Prokofiev's Autumnal and Violin Concerto No.1 in D (soloist Pekka Kuusisto).
The singers eagerly embraced the rich Russian vocal style required for the Cantata, which features texts by the pioneers of Soviet communism and tells vividly of the uprising of the oppressed. Godfrey said that the Cardiff audience "were rightly and wildly enthusiastic", adding: "for myself I was delighted to encounter a work such as the Cantata, which I do not expect to hear again in the concert hall during my lifetime."
In the 20 May concert in the Royal Festival Hall, Autumnal was replaced in the programme by Prokofiev's visceral Seven, they are Seven – an atonal choral work based on an ancient Babylonian text and performed in the Russian words of poet Konstantin Belmont. Critic Mark Berry said the piece "received an exhilarating performance under Vladimir Ashkenazy ... joined by the equally fine [tenor soloist] David Butt Philip, Philharmonia Voices, and Crouch End Festival Chorus."
The reprise of the Cantata at the London venue was also a triumph, with critic Nick Breckenfield commenting: "There was a wealth of vivid detail in the story-telling, especially from the sixth section on, with genuine exciting narrative-thrust about how the proletariat hung on to achieve victory, and Ashkenazy teased out the colours to magnificent effect."
Violinist Pekka Kuusisto added to the success of the two concerts, being warmly praised by the critics and receiving adulation from the audience at both halls for his interpretation of the Prokofiev concerto. All in all, these were two spectacular evenings of music under a legendary maestro, and it was a privilege for Crouch End Festival Chorus to be part of them.
Temple goes to the Palace
March 2018: It's official! Crouch End Festival Chorus music director David Temple has received his MBE award for Services to Music. Attending Buckingham Palace on Tuesday 6 March, Temple received his award from the Duke of Cambridge.
Afterwards, he was interviewed by the Press Association, saying: "It's something I never dreamt of, when I was a kid. I still don't believe I've done anything to deserve it. I'm so proud." He also talked about his work with CEFC patrons Sir Ray Davies and Noel Gallagher, remarking on how friendly rock stars can be.
March 2018: We were delighted to hear that Loving Vincent had been nominated for an Oscar at the 2018 Academy Awards.
The innovative production - which was nominated in the Animated Feature Film category
- features the ethereal voices of Crouch End Festival Chorus on its soundtrack.
Listen out for us towards the end of Clint Mansell's beautiful piece The Sower with Setting Sun, below,
and you can hear more of our voices throughout the full soundtrack on YouTube.
Sadly, Loving Vincent was pipped to the post by the excellent Coco on the night,
but we were still very pleased to be associated with the world's first fully painted feature film.
February 2018: What have people come to expect from a Crouch End Festival Chorus concert?
New works of classical music with the composer in the audience? Technically-challenging pieces sung with ‘heart’ as well as assurance?
Collaboration with world-class instrumentalists? The Prayer of the Heart concert on 10 February 2018 had it all.
Held at St John’s Smith Square in central London, the concert formed part of the venue’s Americana ’18 series, exploring the variety of English and American music written in the last 80 years. Profound themes of war and suffering were interwoven with moments of laughter, joy and light as the choir joined the renowned Brodsky Quartet for an outstanding evening of music-making.
The programme kicked off with Randall Thompson’s beautiful Alleluia
- a favourite of American choirs but less well-known in the UK. Next was Paul Patterson’s innovative Time Piece,
written for the King’s Singers in the 1970s and rearranged specially for Crouch End Festival Chorus by the composer.
The audience enjoyed it very much, and gave a special round of applause when conductor David Temple invited Patterson to take a bow from his place in the audience.
The Brodsky Quartet then reduced many audience members to tears with Osvaldo Golijov’s powerful Tenebrae, and this was followed up by the wonderful spirituals from Michael Tippett’s A Child of our Time.
Following the interval, the chorus and instrumentalists performed Tarik O’Regan’s spellbinding The Ecstasies above,
which was new to Crouch End Festival Chorus but will surely be included in many future programmes.
Next up was the Brodsky Quartet’s own rousing arrangement of Aaron Copland’s Hoedown,
followed by the thrilling Revelation Window by Bernard Hughes - a several-time collaborator with Crouch End Festival Chorus who, like Paul Patterson, was present at St John’s Smith Square and also received a deserved round of applause.
The programme concluded with the piece that gave the concert its name: John Tavener’s Prayer of the Heart. This was composed in 1999 for the singer Bjork and the Brodsky Quartet and was performed in this new interpretation with the permission of the Tavener estate. With the lights dimmed and the sound of a heartbeat pulsing through the performance, the audience were transported onto another plane as the choir and soloists chanted in Greek, Coptic and English above sustained notes from the quartet.
January 2018: David Temple, co-founder and Music Director of Crouch End Festival Chorus, has been awarded the MBE in the New Year honours list, for services to music.
Now one of the leading symphony choruses in the UK, Crouch End Festival Chorus was founded in 1984 by David and tenor John Gregson – handing out leaflets in Crouch End Broadway inviting singers to join in a local performance of the Verdi Requiem. Since then, the chorus has gone from strength to strength, and now has some 150 singers on its books.
Newcastle-born David began his musical life at the age of eighteen when he joined the London Philharmonic Choir. He taught himself to read music and, within weeks, was singing under conductors of the calibre of Sir Georg Solti, Sir Adrian Boult, Bernard Haitink, and Leopold Stokowski. His extensive repertoire includes a large number of commissions from composers including Will Todd, James McCarthy, John Woolrich, Sally Beamish and Simon Bainbridge. He has prepared Crouch End Festival Chorus for concerts under conductors such as Valery Gergiev, Esa-Pekka Salonen, Semyon Bychkov, Jiří Bělohlávek, Edward Gardner and Ennio Morricone (both CEFC Patrons). In addition, since 2000, David has been Music Director for Hertfordshire Chorus, and works as a guest chorus master with the BBC Symphony Chorus. David has also worked with children for many years, often involving them in major concerts.
Commenting on the award, David said: "I am both proud and thrilled to receive this award – and I would like to dedicate it to all who have supported me throughout my career, both on the concert platform and behind the scenes."
Hugh Bowden, CEFC Chair of Trustees, added: "David is one of the country‘s best choral conductors, and it is thanks to him that Crouch End Festival Chorus has become known for the diversity of its music-making as well as the quality of its singing. We are very proud of David, and delighted that his work with us over decades has been recognised in this way."
It’s a Crouch End Festival Chorus Christmas!
Not content with having a best-selling Christmas album and putting on an annual Christmas concert, this year we became the soundtrack to festive football, and even teamed up with King’s College Choir at the Royal Albert Hall.
Then we were invited to sing with the Choir of King’s College Cambridge, which is known worldwide for its Christmas broadcasts on the BBC. We joined the choristers on 15 December for a sold-out concert at the Royal Albert Hall, performing movements from Bach’s Christmas Oratorio and Handel’s Messiah, as well as festive songs including John Rutter’s Shepherd’s Pipe Carol and Berlioz’s L’Adieu des Bergers.
The following day, we performed these works again for our local supporters at St Michael’s Highgate, plus some pop carols from our album The Greatest Christmas Choral Classics and of course the audience participation favourites such as Once in Royal David’s City and O Come All Ye Faithful. The concert was in support of Hope North London, and the audience dug deep in the collection for the community charity. We ended with We Wish You a Merry Christmas, and would like to extend those wishes to all our friends and supporters online. Have a Merry Christmas and a Happy New Year!
November 2017: Crouch End Festival Chorus is committed to helping create and enthuse future generations of musicians. Our exciting new commission navigating the dog watch, combined with the generous financial support of the Tottenham Grammar School Foundation, offered us the perfect opportunity to work with local schools on a composition project this term.
Around 180 children from Rhodes Avenue and Coldfall Primary Schools took part in workshops with the composer Laura Bowler and CEFC music director David Temple where they explored how they could make their own music from the everyday sounds of their lives. The children have now been reflecting on their experience, and as the comments below illustrate, they engaged with the ideas and had a lot of fun.
Ellie: I think the workshop was really fun because we all made different noises and really enjoyed it. Elsa: I really enjoyed making all different noises. It was really enjoyable to be there and I learnt lots about music. Laura and David were really nice to us.
Alice: I enjoyed making new noises with my hands, mouth and feet. I heard all the noises that we made on the way to school, it was really fun and I really enjoyed it. Laura and David made it really enjoyable. Rosa: The workshop was really good because we got to make our sounds in a group and then perform it to the other groups. I learnt how to turn sounds and noises into music.
Josie: I enjoyed hearing about Laura's journey. Anky: It was good because Laura and David taught us that every bit of music has rhythm.
Shari: I enjoyed the workshop - it was really fun.
A group of 45 of the children came to hear the premiere of the commission and Gershwin’s Porgy and Bess at our Barbican concert on 20 October. One of their teachers said: "The concert was an incredible experience for the children and we all had a wonderful time. The visuals that went with Laura's piece were mesmerising and added so much to the whole experience of the piece, particularly as Laura had talked so much about the journey when she came into school."
Lila: Going to the Barbican was amazing. I had a great time.
Vita: It was great at the Barbican because we go to listen to the jazz music and I really liked the drums.
David Temple commented: "The workshops were both illuminating and productive. The children's imagination and creativity were stimulated by Laura's music and the activities surrounding it. My favourite aspect of the whole venture was hearing the feedback about the concert itself from the schools. A brilliant achievement all round."
Crossing the Atlantic
Crouch End Festival Chorus is known for its commitment to new music, and 20 October saw the world premiere of the choir’s latest commission – navigating the dogwatch by young British composer Laura Bowler. Performed at the Barbican in London with the London Orchestra da Camera, the work used an innovative blend of vocal and percussive sounds to recreate the composer’s voyage by tall ship to the remote South Atlantic islands of Ascension and St Helena. To enhance the sense of being transported to a wild and lonely environment, the soundscape was accompanied by film projections of the voyage.
navigating the dogwatch was warmly received by the Barbican audience, and made an impression on the critics too. David Winskill of the Ham & High said: ‘it felt strange to see the choir enthusiastically slapping thighs, cheeks and necks, hissing and puffing. However, the effect was remarkable and conveyed the sinister beauty and sheer scale of the threatening landscape’. And Sam Smith of Music OMH said Bowler had ‘certainly succeeded in her aim of creating a deeply evocative work.’
The second half of the concert saw the audience’s Atlantic voyage arrive in the US port of Charleston, South Carolina – the setting for Gershwin’s jazz-tinged opera Porgy and Bess. Performing the Litton concert version, the chorus, orchestra and conductor David Temple were joined onstage by the Inner Voices youth choir and soloists Francesca Chiejina, Abigail Kelly, Ronald Samm and Rodney Earl Clarke.
David Winskill was struck by Inner Voices’ contribution to an ‘energetic and joyous performance’. He also paid tribute to soprano Francesca Chiejina’s ‘fabulous’ rendition of the work’s best-known song, Summertime, and her ‘emotionally-charged’ performance as Bess. Sam Smith added that soprano Abigail Kelly ‘imbued a strong sense of character into every note that she sang, while Rodney Earl Clarke [as Porgy] revealed a warm, firm and nuanced bass-baritone.’
Both critics agreed that the star of the show had been tenor Ronald Samm. Smith said Samm had ‘presented a master class in how to put on a performance and engage an audience’; while Winskill said he had ‘foot stomped, tongue rolled and improvised his way through great numbers that had the audience applauding wildly. Working with the Chorus as Sporting Life, it would be hard to imagine a better It Ain’t Necessarily So.’
>> Crouch End Festival Chorus would like to thank the RVW Trust for its support for the commissioning of navigating the dog watch by Laura Bowler
Each year, the transition of summer into autumn is marked by the Last Night of the Proms, the eccentrically patriotic concert in the Royal Albert Hall that traditionally brings the BBC Proms classical music festival to a close.
In recent times, the Last Night at the RAH has been accompanied in neighbouring Hyde Park by an open air concert of rock, pop and light classical music: Proms in the Park. And when our patron Sir Ray Davies was invited to headline this televised extravaganza on 9 September this year, who else would he invite as his backing singers than Crouch End Festival Chorus?
The CEFC singers were thrilled to be performing Sir Ray’s Kinks hits. It was also good to catch up with another performer who is one of the choir’s patrons: renowned tenor Sir Bryn Terfel. And when the time came for the Albert Hall audience to join in with traditional Last Night songs such as Elgar’s Land of Hope and Glory, the Hyde Park performers and crowd were linked in for the rousing singalong too.
The Hyde Park concert required only a fairly small group of singers from the Crouch End Festival Chorus pool, but the choir had been out in force at this summer’s other fantastic Prom experience: BBC Prom 17 on 27 July.
Performing with the BBC Philharmonic Orchestra under the baton of Juanjo Mena, our singers added large choir power to the London premiere of The Immortal – Mark Simpson’s epic oratorio based on Victorian séances.
The spooky 2015 work was well-received in a packed Royal Albert Hall, and was enjoyed at home by listeners to BBC Radio 3. And two months on, our massive shout of “Thanatos!” (death) is still ringing in the ears of all who heard it...
July 2017: The world premiere of Lansky: The Mob’s Money Man was a highlight of 2015 for Crouch End Festival Chorus, so we were delighted to join composer Roland Perrin and The Blue Planet Orchestra for a reprise at London’s Cadogan Hall this summer. The work charts the eventful life of New York mobster Meyer Lansky, using jazz, klezmer and Latin American music to tell the story.
The CEFC commission was taken up a gear for this performance, with acted scenes and visual projections. And as the UK’s most versatile large choir, the singers were in their element, getting into the groove with the virtuoso jazz instrumentalists. It was also pleasing to welcome back charismatic jazz singer Rachel Sutton (pictured) and renowned actor Allan Corduner, whose rich speaking voice provided the links between the scenes.
Roland Perrin has called his composition a choral jazz concert drama" but on 1 July an impressed audience member said afterwards: "You should have called it an opera – it really was an opera!" Whatever you call it, Lansky: The Mob’s Money Man is a great night out that deserves many more performances.
Back to our roots
June 2017: Crouch End Festival Chorus travelled back to the 1980s this month with an enjoyable community event in the church where the choir first rehearsed. Sing Creation! saw CEFC singers team up with locals at Holy Innocents Church in Tottenham Lane N8 for a one-day workshop as part of the Crouch End Festival.
The piece to be tackled on Saturday 10 June was, of course, Haydn’s Creation. Conductor David Temple chose the English language version, following the success of the CEFC recording of Bach’s St John Passion sung in English. As he pointed out, The Creation was inspired by the composer’s visits to England, and has long been published with English and German texts side by side.
During the workshop, the group rehearsed favourites such as The Heavens are Telling the Glory of God, supported by CEFC principal accompanist Peter Jaekel. David Temple reminisced about the early days of the choir he co-founded with tenor John Gregson, and said how impressed he was at the high standard of the non-auditioned guest singers at the workshop. The event finished with an informal concert appreciated by family, friends and passers-by, and a collection in aid of the church’s winter night shelter for homeless people raised an impressive £386.35.
Super summer for Crouch End Festival Chorus
June 2017: There’s a great selection of music coming up in the next few months, with four opportunities to hear us live at top London venues.
Next is our 1 July concert at Cadogan Hall - Lansky: The Mob’s Money Man, composed specially for Crouch End Festival Chorus by Roland Perrin. It’s going to be an exhilarating evening of jazz, high drama and breathtaking choral singing, as the piece takes the audience through the shady life of real-world mafioso Meyer Lansky.
We can’t wait to get started, so here’s a taster of our "choral jazz concert drama"Lansky: the Mob’s Money Man, introduced by composer Roland Perrin...
Further accolades for St John Passion recording
April 2017: Following the warm words in Gramophone magazine (see article below), the praise keeps coming for Crouch End Festival Chorus’s recording of Bach’s St John Passion. It was released by Chandos records on 31 March and since then has been reviewed by the great and the good of British classical music. Not only this, but the CD made the top 10 of the official UK classical charts and remained in the top 30 throughout the month of April.
And pleasing as it is to see the interest from the critics, it is especially heartening to see enthusiastic online reviews from members of the public who bought the CD - both in the UK and the US. Here is a selection of the comments:
"...there’s plenty to recommend a recording ... with a hefty100-plus chorus mustering venom aplenty. The solo line-up is without a weak link" BBC Music Magazine (**** four stars)
"Temple’s version with the Crouch End Festival Chorus ... has fine voices" The Times
"If you need a new recording of St John Passion in English, this is the one to get" Record Review, BBC Radio 3
"This is a beautifully crafted recording which, as a native English speaker, brought a new focus to my enjoyment of this emotional masterpiece." Roger Weston on Amazon.co.uk(***** five stars)
"It is both moving and exhilarating with the commanding performances of the soloists and the outstanding response from Crouch End Festival Chorus. In my opinion it is not one to miss." Smusic on Amazon.co.uk(***** five stars)
"An outstanding recording of Bach’s St. John Passion in English performed to an exquisite standard by Crouch End Festival Chorus, soloists, orchestra and conductor. The reputable Chandos Records have once again produced a recording where the mixture of detail and the feeling of being ‘in the space’ is perfect. I found myself totally immersed in the drama; the ability to follow the exact meaning of the story in English resulting from the clear diction and unrelenting energy being crucial in drawing me fully into the events surrounding the crucifixion." Helen Claire on Amazon.co.uk (***** five stars)
"This is an outstanding recording in every way. Perfect sonic clarity, soloists with beautiful tone and crystal clear voices and choral work that puts most other recordings to shame. The Crouch End Festival Chorus, 100 strong in this recording, sings as one with a clarity of diction that is barely obtained by choruses a fraction of that size! - Buy this now, for yourselves, for your friends and for strangers!" A. Roth on Amazon.com USA(***** five stars)
St John at St John’s
April 2017: There was no fooling around for Crouch End Festival Chorus on 1 April as the choir celebrated the release of its acclaimed new St John Passion CD with a live performance of Bach’s masterwork. In front of a packed house at St John’s Smith Square in Westminster, the CEFC singers welcomed back the Bach Camerata several of the soloists from the Chandos recording. Tenor Robert Murray was arguably the star of the recording with his thoughtful and anguished storytelling as the Evangelist, so it was a particular pleasure to hear him reprise the role.
Like Murray, the choir also sought to convey Bach’s powerful message of suffering and sacrifice through their clear diction and expressive vocal style. Performed in English, using Neil Jenkins’s sensitive translation from the original German, the work gained vitality and immediacy through the use of language familiar to singers and audience.
It certainly seemed to do the trick, given the thunderous applause at the end of the performance and the comments from audience members afterwards:
"I was totally immersed in the drama of the performance, it was really good hearing it in English – the clarity and endings of words were exceptional. An outstanding performance which I didn’t want to end, you should be justifiably proud of everyone involved."
"The choir sounded wonderful, the music and words conveyed with such clarity – very moving. I always thought my favourite part was ‘Sleep well’ but then you sang the final chorus! It brought tears to my eyes."
"I came with my friend who was overwhelmed by it all and he said ‘When it came to the end I sat there thinking what a privilege it had been to hear this magnificent choir’."
"I just wanted to congratulate you on a stunning performance last night. It was energetic, emotional and everything it should be. I loved Robert Murray. He told the story with such passion! I even bought a CD."
High praise for St John Passion recording
March-April 2017: Crouch End Festival Chorus has teamed up with Chandos Records - one of the world’s premier classical record companies - to release a new CD of Bach’s St John Passion. It’s the first time the work has been recorded in English for over 40 years, opening up exciting possibilities for expressiveness and clarity of storytelling.
Crouch End Festival Chorus is on top form throughout, says reviewer Malcolm Riley, who praises the choir’s "committed, well-balanced, agile and crisp singing".
Pronouncing himself completely hooked on the English translation by Neil Jenkins, Riley adds: "Under David Temple’s inspired direction [the singers] can switch in an instant from a focused fervour (in their chorales) to the most vengeful scornfulness imaginable."
The new St John Passion was released on 31 March - buy your copy now at the CEFC Music Shop!
From Heaven to Hell at the Movies
March 2017: On 19 March, the singers of Crouch End Festival Chorus joined the BBC Concert Orchestra for a dramatic programme of film music at the Royal Festival Hall. From Heaven to Hell at the Movies was recorded "as live" and then broadcast on 24 March for Radio 3 in Concert.
The evening kicked off with O Fortuna, Carl Orff’s ever-popular and stirring opening to Carmina Burana, and the hall erupted with enthusiastic applause. Works by John Barry followed, including his evocative ‘medieval’ suite for The Lion in Winter – the 1968 epic starring Peter O’Toole as Henry II and Katharine Hepburn as Eleanor of Aquitaine.
Some of the works in this varied concert were already within the choir’s repertoire, such as Sergey Prokofiev’s music for Eisenstein’s film Alexander Nevsky, which CEFC performed in concert earlier this year. So, thankfully, the tricky Russian pronunciation was still fresh in our minds as we celebrated Nevsky’s saving of mother Russia at the close of the first half. In the second half of the concert, after our chilling rendition of Jerry’s Goldsmith’s music for The Omen, our amiable conductor Keith Lockhart turned to acknowledge the applause of the audience, turned back towards us, grinned, and crossed himself. We laughed. Nervously.
At times, we enjoyed a short rest and the privilege of listening to the BBC Concert Orchestra performing instrumental works including Ennio Morricone’s soulful Gabriel’s Oboe from The Mission and John Williams’s heart-rending main theme from Schindler’s List, with solo violin by leader Charles Mutter. Princess Leia’s Theme from Star Wars Episode IV – A New Hope was of course made more poignant by the untimely death of Carrie Fisher just a few months ago, and some in the audience and the choir were visibly moved.
The night ended with the epilogue from William Walton’s Henry V – A Shakespeare Scenario, with narration by our presenter, Radio 3’s Matthew Sweet. This was a concert of familiar, immensely popular music, but performing the programme was nonetheless challenging, and also emotionally engaging – just as film music should be. The audience loved it.
February 2017: Hollywood has come calling again for Crouch End Festival Chorus... We’re on the soundtrack of the new "macabre conspiracy horror"A Cure for Wellness. Find out more in this video of our Abbey Road recording session with composer Benjamin Wallfisch.
A glorious programme
February 2017: It’s not often we can say that a concert offers something for everyone, but that was the aim on 12 February at the Barbican. On that evening, the chameleon singers of Crouch End Festival Chorus started as a chamber group from the Italian Baroque, then turned into an English cathedral choir and ended up as a Russian opera chorus.
The works were united by the theme of glory – in faith and in battle – and first on the bill was Vivaldi’s Gloria. The singing was lively, lithe and clear, with fine solos by sopranos Jessica Cale and Kitty Whately, and critic David Winskill said the choir had turned in a sensitive and thoughtful performance.
The second work was Holst’s Hymn of Jesus, for which the chorus was joined by the ethereal voices of Finchley Children’s Music Group and the City of London School for Girls Choir. Their song floated down from the gallery as the main choir took the work from its plainchant beginnings through mystical dances and stately processions. The offstage semi-chorus of monks taken from the CEFC tenors and basses also deserve a mention for the beauty and precision of their chant. Overall, David Winskill said the piece had been a monumental ecclesiastical triumph in ambition and execution.
Between the first two works, the instrumentalists accompanying the choir had expanded from a small string group to a fair-sized orchestra (the London Orchestra da Camera). And by the time the audience returned from the interval, the stage was heaving with enough brass and percussion to indicate that something truly rousing was on its way.
Prokofiev’s Alexander Nevsky suite contains some of the finest film music of the 20th century, with wild, bloodthirsty battle cries and rich folk-inspired choruses. Inspired by a powerful solo from Kitty Whately, the singers gave their all, imbuing their notes with a dark Slavonic timbre and rendering the Russian words with clarity and emotion. As Alexander Nevsky’s massive climactic chord brought the concert to an end, audience members jumped to their feet cheering. The varied programme had been a wonderful success, and all present came away with their ears ringing and smiles on their faces.
Crouch End Festival Chorus patrons knighted in New Year’s Honours
January 2017: Our warmest congratulations to Sir Ray Davies and Sir Bryn Terfel, who have been recognised in the 2017 New Year’s Honours for their services to the arts and music.
We enjoyed performing with Bryn Terfel when he was making his name as a young bass-baritone, and were delighted when he agreed to be a patron of the choir. His career has since risen to great heights, and his knighthood is richly deserved.
Muswell Hill-born Ray Davies has been a local friend to Crouch End Festival Chorus for many years. We have performed with him at the Glastonbury Festival and in the Royal Festival Hall, and we made the best-selling album Kinks Choral Collection together. His outstanding lifetime contribution to the cultural life of the nation is rightly honoured with his knighthood.