Toad Lane Concerts, Rochdale
25th June 2026

Midweek Musical Delight at St Mary in the Baum!

Every Wednesday at 12:30pm, enjoy the Queen’s Award-winning Toad Lane Concerts at the stunning Grade I listed St Mary in the Baum church, Toad Lane, Rochdale, OL16 1DZ.

Admission is just £6. As a “not for profit” initiative, your entry fee and donations directly support talented musicians, the historic venue, and music resources.

For details, contact Dr. Joe Dawson: 01706 648872.

Note: There have been 1,191 concerts since taking over the council’s Music at Lunchtime in 2001. Justifying continuity in Rochdale’s year as the Greater Manchester Town of Culture.

Doors open 12noon, concert starts 12.30pm – 1.30pm.

Wednesday 1st July 2026 – Sam Rodwell guitar (RNCM Gold medal finalist)

Here are the next events to whet your appetite.

- July 08 – Leda Mileto violin (Rome, RNCM, JRNCM tutor) & Kanako Mizuno piano(Toho Gakuen Japan, RNCM & RAM)
- July 15 – Tim Kennedy tenor (Cambridge University & RNCM staff) Carol Kwater piano
- July 22 – Alice Roberts & Kathryn Mason ‘Rascallity Harp Duo’ (both Manchester University & RNCM)
- July 29 – Voci Voices: Elizabeth Ambrose soprano, Eric Cymbir tenor, Mackenzie Paget baritone and Jonathan Ellis piano

Previous Performance Reviews.

Wednesday 24th June 2026 -Telemann Baroque Ensemble – Alastair Roberts flute, Elaine da Costa & Sarah Snape violins, John Goodstadt viola, Rosy Hickman cello and Robin Shakespeare harpsichord

This atmospheric Toad Lane Concert at St Mary in the Baum was the 1,191^st since taking over from Rochdale council in 2001.

Phew! Wot a scorcher! To borrow the famous headline. The church was relatively cool despite the heatwave. It was the welcome return of The Telemann Baroque Ensemble which was founded and directed by the late Peter Collier. It is known for its extensive repertoire built up by Peter over the 43 years that he directed the Baroque Week Summer School of Oxford during which time he built up a library of several thousand pieces. For several years, the ensemble in its various manifestations appeared quarterly at Toad Lane Concerts to the audiences’ delight; Peter found it highly amusing to be referred to as ‘the house band’. It also attracted school trips on occasion, where students gained valuable experiences of live music.

Peter’s widow Pam, and daughter Rachel kindly brought along one of his handmade harpsichords today to enable the ensemble’s true Baroque sound, like the essential seasoning in haute cuisine.

The merry band of players today consisted of regular members Alastair Roberts flute, Elaine da Costa & Sarah Snape violins, John Goodstadt viola, with Rosy Hickman cello (standing in for indisposed Roger Bisby) and Robin Shakespeare harpsichord (newly appointed as Director of Music at St Ann’s Church, Manchester and who has been awarded the inaugural Peter Collier Bursury to Baroque Week). All experienced and highly valued musicians in the Northwest.

The strings and harpsichord began with Quartet in B flat TWV43:B2 by Telemann. This set the right balance of sound in the acoustic of the church as they brought the music off the page with panache.

Flautist Alastair and harpsichordist Robin played Flute Sonata in G minor BWV 120 by JS Bach. This was unusual because it dispensed with the usual cello underpinning the bass line, thus anticipating the later sonata with solo instrument and piano duos; beautiful clean lines from two accomplished exponents.

Strings rejoined the harpsichord for Concerto Op.8 No.2 in A major by Sammartini (c.1700-1775). This composer is often regarded as pivotal in the rise of the symphony and lies between Telemann and Haydn and bridges the gap between Baroque to Classical.

Then the whole company played Flute Concerto in G major Op.29 by Stamitz (1745-1801) firmly in the Classical period but with the harpsichord still involved.

The sound in the wonderful acoustics of St Mary in the Baum was an exquisite blend of joy and poignancy.

Let’s hope they can continue with a precious legacy.

With thanks to Dr. Joe Dawson for permission to publish his article.

Wednesday 17th June 2026 – Jasmine Ai Higgs soprano (RNCM) & Logan Ferris piano (Manchester University)

Jasmine Ai Higgs recently completed her master’s at the RNCM, where she also completed her undergraduate studies. She is a lyric soprano who performs a range of operatic and recital repertoire and is currently preparing the role of the Shepherd Boy in Tosca, in which she will also perform as a chorus member on tour with Flat Pack Opera. She works regularly as an ensemble singer and collaborative performer and has also worked with Streetwise Opera and participated in community opera projects with Glyndebourne, where she was awarded the inaugural Bill Weston Award.

Logan Ferris is in his final year reading music at the University of Manchester reading music. He is a first-study organist, and in his second year was awarded the Procter-Gregg Prize for organ performance. Gaining a distinction in his ARSM Piano Performance Diploma whilst still at secondary school, Logan’s current work finds him in demand as a recitalist and collaborative pianist, accompanying and directing a wide range of groups from community choirs, professional soloists and ensembles and operatic and musical theatre productions. Logan is currently sub-organist at Bolton Parish Church and an organist for the BBC R4 Daily Service and to the University of Manchester.

This accomplished pair of musicians, on the first steps of their promising careers, gave an enthusiastic and varied recital. With her exuberant personality, Jasmine quickly captured the hearts of the audience. She revelled in her theme, ‘Love me from Head to Toe’.

Starting with the head meant Rodgers and Hammerstein – I’m gonna wash that man right outta my hair, from South Pacific. This set the mood well.

Some of the songs were more serious ‘Art songs’ where she could demonstrate her technical and musical polish such as Vaughan Williams – Silent Noon. She also sang successfully in French and Italian.

To finish her theme, we had a beautiful setting of How beautiful are the feet by Julia Perry.

Logan’s accompaniments were excellent … and then we had a terrific encore by contemporary composer Jonathan Dove. Wow! That really set the place alight.

With thanks to Dr. Joe Dawson for permission to publish his article.

Wednesday 10th June 2026 – The Nightingale Singers – Conductor Ken Greaves piano Brian Milligan

This melodious Toad Lane Concert at St Mary in the Baum was the 1,189^th since taking over from Rochdale council in 2001. It has become a haven for audiences and performers alike, regularly hosting recitals by outstanding soloists, duos and ensembles from colleges and universities plus local talent … and of course, choirs. One of the latter, The Nightingale Singers (mixed voice) were founded in 1987. They rehearse at Bowlee in Middleton, Rochdale. Since 2004 they have been directed by Ken Greaves and have performed in the North of England, Midlands, North Wales, France and Madeira. If you would like to host a Nightingale concert or join the Nightingale Singers, contact Ken at kcgreaves1@gmail.com.

Today’s Nightingale songfest consisted of a variety of styles interspersed with soloists from their midst. Much of it was a capella (unaccompanied), which calls for immense effort, concentration and practise, and also with piano obbligato provided by Brian Milligan.

The cheery carousers began as they meant to go on with ‘Spread a little happiness’ a capella, and Gershwin’s ‘Summertime’ with piano.

The first soloist to spring forward was Alyson Brailsford with a merry ‘Spring is spring’ from Seven brides for seven brothers. This spurred them on to more confidence with ‘42^nd Street’ and ‘Down to the river to pray’ and the unaccompanied part singing was more assured.

Second soloist, Liz Creagh seized her guitar to deliver an accomplished and poignant rendering of ‘The wind beneath my wings,’ remembering her late parents. The chorister followed this with the traditional Yiddish ‘Tumbalalaika’ and Goodall’s setting of Psalm 23, ‘The Lord is my shepherd’ with piano.

The next soloist, resonant mezzo Jennifer Workman contributed a heartfelt ‘Panis Angelicus.’ In contrast, more a capella Gershwin with ‘I got rhythm’ took us to their most successful number, with piano, ‘The green leaves of summer’ (do you remember the Brothers Four?)

Solo tenor, Martin McLoughlin’s ‘Blue Heaven’ from The Desert Song led to a nostalgic finale of ‘Don’t sit under the apple tree’ made famous by Glenn Miller and the Andrews Sisters during World War II. No prizes for guessing which tune was most hummed as everyone left … with a spring in their steps.

With thanks to Dr. Joe Dawson for permission to publish his article.

Wednesday 3rd June 2026 – Richard Haslam classical guitar (Hull University & RNCM)

This mesmeric Toad Lane Concert at St Mary in the Baum was the 1,188^th since taking over from Rochdale council in 2001.

As one wit piped up at the end of the recital, ‘it’s amazing what you can do with a pretty little wooden box and half a dozen strings, isn’t it?’ It was amazing indeed in the hands of Richard Haslam, the Derbyshire-born classical guitarist who gained a post-graduate degree at the RNCM with Australian guitarist Craig Ogden in 2017, having previously graduated from Hull in 2013. He teaches privately in the Bury area and as an instrumental tutor Trafford Music Service.

Richard has given recitals as both a soloist and with a variety of ensembles. He has performed Rodrigo’s Concierto de Aranjuez with Derby Concert Orchestra and Salford Symphony Orchestra and will perform it again on Saturday November 14^th of this year with Todmorden Orchestra.

The pretty little wooden box with merely half a dozen strings produces a fraction of the volume of say, the resident 8’ Challen Grand Piano’s 88 keys supported by roughly 220–230 strings. The audience had to adjust their expectations somewhat in the huge acoustic space of St Mary in the Baum, but their rewards for concentration and focus were considerable.

Variations on a Theme of Handel by Mauro Giuliani was a delight, beginning with a deceptively naïve theme and moving through charming developments of the melody and accompanying harmonies. Finger-picking the broken chords yet allowing a melody to sing out called for immense skill, which Richard pursued flawlessly.

Lagrima, Adelita and Sueno by Francisco Tarrega were elegant late-nineteenth century pieces in similar vein. By now the delicate tones were beguiling and soothing, summoning up sunny days and moody and reflective nights.

Gary Ryan’s contemporary Lough Caragh conjured up a reflective Irish ballad style, but with the intense Benga Beat he broke the mould; born out of world music styles with vocal fragments from the player and rhythm patterns tapped on the case, it produced a spellbinding cacophony. Great fun.

Bagatelles 2, 3 and 4 by Oldham-born composer Sir William Walton were fine examples of the uptake of guitar music in the twentieth century, particularly through players like Julian Bream who inspired composers such as Walton, Tippett and Britten to take the ‘pretty little box’ seriously.

We ended with a Latin American finale of the attractive Valseana and Jongo by contemporary Brazilian Sergio Assad (b. 1952) … that proved worthy additions to the repertoire.

With thanks to Dr. Joe Dawson for permission to publish his article.