Members
This page provides information aimed primarily at current members of the Paris Choral Society.
Our welcome guide – How to be the perfect PCS Chorister – for new members is highly recommended reading. It is available in both English and French.
If you wish to update your contact details, please send the new information to the membership secretary at info@parischoralsociety.org.
Introduction
The primary aim of the PCS is to provide high quality performances of major choral works at a reasonable cost to the public.
We meet at the American Cathedral in Paris, 23 avenue George V, 75008 Paris.
We welcome singers of all nationalities provided they have a sufficient knowledge of English to follow the rehearsals which are normally conducted in this language.
Founded in 1994, the PCS is a French 1901 Association. Although an independent organization, the PCS receives the support of the American Cathedral in Paris, particularly for the use of its premises for rehearsals and concerts.
Despite being an amateur choir, the PCS seeks to provide music of the highest quality. To this end, the Board of Directors requires its Music Director to monitor the quality of each singer’s voice.
Rehearsal info
A complete rehearsal schedule for the entire season is provided in September at the start of the season. A full list of rehearsals can be found in the PCS Calendar (also below).
Rehearsals start in September and continue each Monday through June from 7.30pm to 9.45pm. A short break is held mid-rehearsal for announcements, refreshments (please bring your own and feel free to share!) and socialising.
Rehearsals start strictly on time. It is accepted that for various reasons a singer may occasionally arrive late. Regular late arrivals or early departures are not acceptable.
Two “workshops” are organized each term, normally from 10am to 1pm on a Saturday.
Once a term, an additional “sectional rehearsal” may be organized for each voice.
There are two dress rehearsals in the week preceding each concert. Attendance at these rehearsals is obligatory.
A choir member may miss up to three rehearsals for each concert without risking exclusion from the performance. Above this number of absences, the member may not participate in the concert without the express permission of the Music Director whose decision will be final.
Each voice section takes it in turns each week to arrive early to set up the rehearsal space and to clear up after the rehearsal.
Rehearsal notes
Use the rehearsal notes below to check that you have marked up your score properly each week (especially if you were not able to attend).

Songs of the Earth: MIDI files and rehearsal tracks
Benjamin Britten: The Evening Primrose
Jonathan Dove: Who killed Cock Robin?
Benjamin Britten: Advance Democracy
Alec Roth: Earthrise Parts 1 + 3 (1: Man’s Drive to explore and exploit; 3: A plea)
You can listen to the whole concert on this Spotify playlist.
Rehearsal resources
Songs of the Earth: MIDI files and rehearsal tracks
Benjamin Britten: The Evening Primrose
Jonathan Dove: Who killed Cock Robin?
Benjamin Britten: Advance Democracy
Alec Roth: Earthrise Parts 1 + 3 (1: Man’s Drive to explore and exploit; 3: A plea)
You can listen to the whole concert on this Spotify playlist.
Shop
Use the members' shop to order music scores and other choir essentials.
Singing tips
Learning how to breathe better for singing
Ten ideas for the singer who doesn’t think they can practice on their own. CLICK FOR MORE
Congratulations! You’ve now been told for the millionth time to practice your music for your next choir rehearsal. But if you are someone who hears that and thinks, “I don’t play piano. I can’t do this without someone helping me,” here are some ways you can practice on your own and improve your singing. Grab your music and a pencil. Many of these steps can be done in a public place. No need to head to the practice room (stop using that as an excuse).
1. Start with the text.
Make sure you know what you are singing. Think about the text. Find a translation if it is in another language. Write the poetic translation above/below the lyrics. If you want to go deeper, use a translation site to translate word for word (especially if there’s a word that you sing over and over again. You should know what that specific word means). Do you know who wrote the lyrics and why? Can you put the piece into historical context?
2. Listen to a recording.
We live in a time of unbelievable access to recordings. Find them (on YouTube, for example). Listen to more than one recording and compare them until you find one or two you really like. Follow along with your score. Listen while paying attention to all of the parts. Listen while paying attention to just your part.
3. Analyze your music.
How is the piece organized? Does it have sections? Are there repeated parts? Does your part occur in another voice part? Are there key changes or meter changes? Is there a repeat sign/first and second ending/coda? How would you describe the organization of this piece to someone who has never heard it?
4. Find your starting pitches.
For every entrance you have, figure out how you are going to find the starting pitch. Maybe another voice part just sang the note. Maybe it was just in the accompaniment. Do you know what note of the chord it is (e.g. I’m singing the root of this chord)? There is nothing worse than “sheep singing” (blindly following what the person next to you is singing). Take responsibility for being able to enter on your own.
5. Don’t just sing through the parts you already know.
You’ll be wasting your practice time. Identify problem areas, analyze why you’re having a problem with that spot, figure out ways to solve the problem area.
6. Solve the problem area.
Break it down to something you CAN do. Then add something to it. Practice with repetition, but only if you’re sure you’re doing it right! Start with just the pitches slowly (dare I say on solfege syllables?). Then add the rhythm to the pitches. Next, add in the lyrics. Make sure you slow down the tempo each time you add another layer. No need to practice with dynamics, articulations, and breaths until you have mastered pitches, rhythms, and lyrics.
7. Work backwards to forwards.
How many times have you felt great about the beginning of a piece, but completely unsure of the ending? During your own practice time, work on the ending section and progressively add sections, each time going through to the end. If you think of your piece as “ABCDE,” practice E, then DE, then CDE, then BCDE, and ABCDE.
8. Audiate your part.
Sing your part through in your head. Do this while you are walking somewhere. Do this in your car while you’re waiting for someone. Do this before you go to sleep. Do this ALL OF THE TIME. (Friendly reminder: Audiating is virtually impossible if there is other music playing. Carve out some quiet time in your life.)
9. Use your pencil.
Mark your score while you’re in rehearsal so you remember what was giving you problems. This will save you time when you plan out your next practice session.
10. Just practice.
99% of the time I don’t want to practice. No one does. But 99% of the time, once I start practicing, I get stuff done. I stop when I lose focus or I run out of time. I NEVER regret spending a little time practicing something. Do yourself a favor and make it part of your daily routine.
You have the ability to do these ten things. Do them. You will reap the benefits of being more confident with your part, which will allow you to contribute to the ensemble in a more meaningful way. And your own vocal technique will improve, because you’ll be able to concentrate on how you sound instead of always worrying about how your part goes. You’ve got this. – Doreen Fryling
Membership dues
In order to sign up for the current season please visit our HelloAsso page and complete the current season’s form with your details. We need to know your current contact information and your feedback on how you might be able to participate in our association work to keep the choir running. This form is a necessary and mandatory step in membership registration/renewal. In completing the membership form, you give us permission to maintain your profile information needed for your web access and our membership records.
We strongly encourage payment online using this form. However, if you prefer to pay by cheque, you can still complete the form and insert “CHEQUE” on the final “Récapitulatif” screen when asked “Avez-vous un code promo?” – give your cheque to the Treasurer at your first rehearsal. We also support choristers who may may not be able to pay in one instalment: use the same “CHEQUE” promo code and speak to the Treasurer in confidence about alternative payment arrangements.
You may pay for your membership only if you’ve already completed your vocal reassessment or do not need one at this time. Please contact the PCS Membership Secretary at info@parischoralsociety.org first, if you are not sure of your status.
There are two types of membership: adult (€230) and under 26 years (€115). For returning members and new choristers joining the PCS at the beginning of the season, the annual membership fee is due to be paid by September 30 irrespective of the number of concerts in which you sing.
Exceptionally, for those new members auditioning and joining the PCS in January, the fees are reduced to 2/3 of the full year membership, that is 153€ for adults and 77€ for those under 26.
Once you have selected the membership type, then click “add to cart” to continue the process. If you prefer to pay by cheque or cash, please pay your dues to the Treasurer at your first rehearsal.
Looking forward to another great year of singing!
Concerts
Programme
The PCS normally presents two performances of three concerts each season in the fall, winter and spring. In addition, the PCS organizes a traditional Sing-Along (selected choruses of the first part + the Hallelujah Chorus of Handel’s Messiah). On this occasion, the PCS choir members and the public perform together.
Setup
The PCS is responsible for setting up the Cathedral for each concert and dress rehearsal, (risers, chairs, moving of benches in the Cathedral, etc.) and for the break-down afterwards. Each member is required to participate in this activity. Those with a physical disability or other problem will be assigned an appropriate task. Members who do not volunteer spontaneously will be assigned a task by the Board.
Dress
Concert dress for men in December and March is a black tuxedo/evening dress or, if not available, a dark suit with white shirt and bow tie. Bow ties and belts must always be black.
Concert dress for men in June is a black long-sleeved shirt with black trousers (no jeans). Belts must always be black.
Everyone must wear black shoes (no tennis shoes). No perfume or hairspray. We are in much closer proximity during concerts, and inhaling a lungful of scent is unpleasant.
There is no dress code for the Sing-Along but you are encouraged to wear something festive.
Etiquette
Instructions for entering and leaving the stage will be given at the compulsory dress rehearsals. Professional behavior on stage is obligatory – no waving to friends, no obvious reaction in the case of a mistake, no drinks on stage, no slumping in one’s chair, no filming, etc.
Members' responsibilities
PCS Members have some specific responsibilities that we would like to highlight:
Members are expected to sing in all the season’s concerts including the Sing-Along and to participate in rehearsals. Missing more than three rehearsals may result in you not being permitted to participate in the concert - the Musical Director's decision is final.
Members are required to pay their annual dues at the beginning of the season in September or, with the Treasurer’s agreement, in two installments – September and January. Dues are non-refundable, and payable online via our website (preferable) or by check given to our Treasurer.
Members are required to inform the President as soon as they know they cannot participate in a concert. Members are not permitted to participate in rehearsals for a concert at which they will not be singing.
Members are required to use the edition of the score chosen by the PCS. Marking the Music Director’s indications in the score must be done systematically. Members should always have a pencil available during rehearsal.
The sale of tickets for each concert is essential to the existence of the Paris Choral Society. Each member is asked to help us sell as many tickets as possible.
Fundraising
The Paris Choral Society welcomes personal, business and corporate sponsorship and is open to new ideas for collaboration. Members are encouraged to become Donors or Sponsors of the PCS. If you are interested, you can find out more here.
Perhaps you work for a company or otherwise have connections to a company that has a budget for sponsoring cultural activities? We can provide you with the necessary materials and otherwise assist in developing such opportunities.
For more information, please contact the PCS on info@parischoralsociety.org
Governance
As a not-for-profit Association, the PCS is managed by a Board of Directors, members of the choral society, elected at the Annual General Meeting for a three year term, with possible re-election at the end of that period. CLICK FOR MORE
The Board appoints a President, a Vice-President, a Treasurer and a Secretary from its members. Each member of the Board is assigned responsibilities corresponding to the needs of the PCS, e.g. publicity, sponsorship, internal and external relations, the purchase of choral and orchestral scores, the design of concert posters and programs, etc.
The Board also appoints, from among the choir members, four Section Leaders responsible for communication with members of his or her section and for liaison with the PCS Music Director and President. The Section Leader keeps an attendance record and informs the Music Director or the President of any repeated absences.
Board
Welcome to the newest iteration of the PCS board! The board members for the 2024 – 2025 season are:
Co-Presidents: Christopher Grinbergs and Jonathan Overett Somnier
Membership Secretary: Kate Woodman
Secretary: Cliodhna Fullam
Treasurer: Robert Rountree
Communications: Laure Wassen and Madeleine Blumgart
Front of House: Yolande Nux and Morgan Rose
Librarian: Angela Peterson Newton
Music: Deborah Palmer
Sponsorship: Elisabeth Poy
Section leaders
In addition Section Leaders join the board and are currently:
Sopranos: Nancy Brune
Altos: Angela Peterson Newton
Tenors: Nicholas Norbrook
Basses: Francois Daguzan
Governance
Want to know more about how we are organized? Please read through this governance document that describes how our association works. And in the PCS directory above, you’ll see the contact information for our current board members. Remember, you don’t have to be on the board to get involved beyond singing. We always need help in areas such as long term publicity, or programme proofreading, or concert logistics. Please reach out to any one of the board members if you’re interested in getting involved.
Corporate documents
Articles of Association (in French only)
Meeting minutes [LINK TO GOOGLE DOCS FOLDER]