“For many, Opera is not just about large sopranos and dashing tenors sharing tender moments in duets, or villainous baritones, or even erring daughters; we also relish the thrill of a fine chorus rising to an old favourite such as the Chorus of the Hebrew Slaves, the Aida Grand March and other noble melodies. Such pieces have long been popular; they are also extremely rewarding for the singers …. Since many operas open with a chorus, the responsibility falls upon choristers to set the standard” (James Murray)
