I'm not sure I'm understanding them correctly, but from what they say, it sounds like the tickets are actually free! But you have to register for random ticket selection, and won't necessarily get selected. Otherwise, you go to a "stand-by" line, where it's "first come, first serve".
Oh yes, I saw the video, but forgot to watch it, thanks.
I have decided that if Hayley ever does get to perform with them, I will just do the random ticket selection thing. If I get selected, I'll go, if not, I won't. It would be a lot of trouble to go all the way to Utah during the holiday season, with possible bad weather, just to stand in a "stand-by" line, not knowing if I'd really get a seat or not. The place is huge, though, so maybe I would. As I said, I'll try to worry about it when the time comes, but it's hard not to think about it now! i.postimg.cc/9fYxy370/smilie-big-grin.gif
I'm desperate for my first Hayley concert to come soon, and if it's the MTC concert, I'm going to try my best to go. If not, I'm holding out for her to come do a little Paradiso tour in the US. Remember she said she might come back!
Ooh, thanks. I saw Sissel the year she was on, too. At that time I didn't really know who she was, but I was very interested, because there were times when her voice reminded me of Hayley's. Not as pure sounding, but a similar tone, I think. I'll have to listen again to remember what it was.
I find this extract interesting in two ways. First, the reason Richard posted it, to be presented like this is the way Hayley deserves to be treated and in such a presentation she would be outstanding.
Second and I know many here are advocates of Sissel so I tread carefully. This is clearly a first class singer with an absolutely tonal purity which is close to that pureness of sound with which Hayley was first acclaimed BUT... and this perhaps leads into subjectivity rather than objectivity, pure though her voice is and perfect her rendition, it lacks colour. It is like a tuning fork. What is wrong with a tuning fork? It is the perfect rendition of a particular note. I suppose I am saying Sissel sounds clinical. Do we want a song played by tuning forks? Yet doesn't "colour" distort the trueness of sound?
For me, this extract highlights that indefinable quality that is the Hayley magic. Sissel is a superb singer and I am sure I would have felt I had enjoyed a superb concert had I been there but a Hayley concert cause me to leave a concert on a mixture of complex emotions: the high that I was there and the low that I am leaving. That is the Hayley colour and magic.
Her eyes were the blue of cornflowers that dance amongst ripening wheat, Her hair the colour of golden sands bleached by summer's heat.
Tend to agree Peter. Although some people say that Hayley's singing lacks emotion. I can't see it myself, I don't know any singer who has moved me to tears more than Hayley. Perhaps what they mean is it lacks earthiness. Hayley's music is closer to heaven!
Here's another article telling about the 2011 concert; it gives a little more detail on the songs. There was a quote I liked in particular, which I put in bold:
Mormon Tabernacle Choir: Christmas concert features British actress Jane Seymour and operatic baritone Nathan Gunn
By R. Scott Lloyd Church News staff writer
Published: Friday, Dec. 16, 2011
For nearly a decade, each annual Mormon Tabernacle Choir Christmas concert has been recorded for nationwide presentation the following year over PBS stations. This year's event began with an announcement about the program's pre-eminence in the yuletide market.
"It gives me great pleasure tonight to announce that this program has become the number-one-rated entertainment program on PBS during the holidays, with more than 4 million Americans tuning in to watch it each year," said Paula Kerger, PBS president.
She flew in from Washington D.C. to make the announcement at the Thursday night dress rehearsal of the concert, an event which, in its own right, drew a near-capacity audience in the Conference Center in Salt Lake City. The main performances will be tonight and Saturday.
The PBS recording of the concert, which also features the Orchestra at Temple Square and the Bells on Temple Square, originates with member station KUED in Salt Lake City.
"Through this program millions of Americans have witnessed what PBS does best," Ms. Kerger said, "and that is to use the magic of television to showcase music, dance and the spoken word to inspire and entertain like nothing else can. And remarkably, just like the price of your admission ticket, it's broadcast free to millions of people, many of whom in these turbulent times are in dire need of a holiday cheer and sparkle that Christmas with the Mormon Tabernacle Choir provides."
British actress Jane Seymour and operatic baritone Nathan Gunn are the guest artists for this year's concert.
An elaborate stage set with stone castle towers, stained-glass windows and flocked evergreens hinted at what would be the program's opening processional. It featured young dancers in red-and-gold medieval costumes performing to "Sing Forth This Day," a composition by the choir's musical director Mack Wilberg.
"'Once upon a time': That's how the stories of Christmas begin," Miss Seymour said in her opening narration. "'The Little Match Girl,' 'The Drummer Boy,' these are the stories that remind us no matter how things seem to be, everything is possible at Christmas. And so we begin. Once upon a time, from castles and cottages across the land, the people of the earth gather to rejoice."
Later in the program, Miss Seymour gave the legend of "Good King Wenceslas," accompanied by the choir performing Brother Wilberg's arrangement of that well-known Christmas song.
In the program's climax, a sublime rendition by the choir and orchestra of "Silent Night" segued into Miss Seymour's recitation from Luke 2 of the story of the birth of Jesus, followed, in keeping with tradition, by Brother Wilberg's exultant arrangement of the French carol "Angels, from the Realms of Glory."
Earlier in the program, Mr. Gunn's rich voice was showcased in "In dulci jubilo" and "Sing Lullaby!"
"Everyone you see here on stage, as well as the many people you don't see behind the stage, have been working tirelessly and giving all that they have to make this really special event, and more than anything else it's the spirit of giving that I am most thankful for," Mr. Gunn told the audience.
Reflecting on the joy of his childhood Christmases, he said, "As a father of five, I'm a little bit greedier these days and what I like most, really, is the entire season, because it gives me an opportunity to be a little bit goofy, where I'm otherwise not allowed to be." He told of donning a Santa hat and saying "ho, ho, ho until my 16-year-old gets annoyed."
Mr. Gunn performed "Mighty Lord, and King All Glorious" from "Christmas Oratorio" by Bach, among other operatic selections.
But he demonstrated the range of his repertoire with a whimsical performance of Ken Darby's musical setting for "'Twas the Night before Christmas" and a medley of "Winter Wonderland," "White Christmas" and "Let It Snow!"
Here's an excellent review of the Mormon Tabernacle Choir's new album from the Deseret News:
'Glory!' new CD from Mormon Tabernacle Choir
By Tori Ackerman, For the Deseret News
Brass cadences and dramatic melodies fill the new release by the Mormon Tabernacle Choir and Orchestra at Temple Square, "Glory! Music of Rejoicing," which song by song declares a message of exuberant praise and celebration. The music of many well-known artists, including John Williams, John Rutter and Gioachino Rossini, add to accomplish the title and concurrent mission of the CD, to rejoice.
The first song, "Hymn of Praise," sets the tone with sounds of triumphant brass leading into later pieces "Exsultate Justi," "Glory!" and "Cum Sancto Spiritu," which reflect the robust opening number and power of the choir's numbers.
The orchestra and choir are also joined by soloist tenor Stanford Olsen, a professor of voice at Florida State University, who delivers a heartfelt message of praise in three songs, "Blessed be the Lord," "The Holy City" and "Nella Fantasia."
The album hosts a handful of contemplative and nostalgic songs, including John Rutter's "Look to the Day," "My House" from the original Peter Pan play and "Psalm 148," which acquaints the listener with new words to accompany the familiar song of "All Creatures of Our God and King."
Dispersed throughout the album are unique forms of praise, especially in the dance piece arranged by Mack Wilberg , "Wonder," the soft American folk hymn arranged by Ryan Murphy, "Pilgrim Song," and the arrangement of a medieval prayer by Patrick Doyle, "Non Nobis, Domine." The album ends appropriately with a flourishing arrangement of "Ode to Joy."
This 14-song CD proves the power of the 360-strong voices, adding another recording to the Grammy-winning choir's nearly 200-album repertoire.
I sang this song at a high school choir event one time, with all the choirs in the school district all singing it at once! It went a little faster than she sang it, and the sopranos had to sing extra high at the beginning, and I wasn't sure if I could do it!
Anyway, seeing the choir begin the song makes me think The Coventry Carol would be an excellent song for Hayley to do, with the choir doing the vocals just like on her CD! I know it's girls who do it, but the ladies in the MTC would sound really good, too.
And after listening to these 2 songs, I decided to look up more of Sissel's songs. She does remind me of Hayley a little bit, especially in her "ee" vowel sounds.