Dmytro Hovorov on performing at 10 Downing Street and St Paul’s Cathedral

On 29 July 2024, Musical Theatre student Dmytro Hovorov performed in a historic concert at St Paul’s Cathedral. A member of the Royal Opera House’s Songs for Ukraine Chorus, Dmytro sang with the choir alongside The Ukrainian Freedom Orchestra in a performance of the orchestra’s acclaimed Ukrainian-language version of Beethoven’s Symphony No. 9. 2024 marked the 200^th-anniversary year of the symphony. The Ukrainian rendition re-asserted the values of freedom, sovereignty, and resistance against Russia’s invasion. “It was a truly wonderful and transformative experience,” says Dmytro. “The project was very large-scale and our choir increased in numbers to fit the symphony’s demands – we were joined by members from the Chorus of the Royal Opera. When we first started the project, I wasn’t sure what to expect, but as soon as I opened the text, I understood that it was very strong. It is ideally placed for Beethoven’s music, I didn’t think it was possible. I think it’s even better than the original.”

The original text of “Ode to Joy” was written by German poet and historian Friedrich Schiller in 1785. Just weeks after the fall of the Berlin Wall in 1989, Leonard Bernstein conducted Beethoven’s Ninth Symphony in the city and made one important change to the text. Bernstein altered Schiller’s opening word “Freude” (Joy) to “Freiheit” (Freedom) and in so doing defined a moment of hope in German, and world, history. In making her performance version, the Ukrainian Freedom Orchestra’s founder and conductor Keri-Lynn Wilson, working with her Ukrainian musical colleague Ievgeniia Iermachkova, changed “Freude” to “Slava” (Glory), from the phrase that has become familiar around the world as the rallying call of Ukrainian resistance, Slava Ukraini! (Glory to Ukraine!). Dmytro draws attention to this choice of wording: “It was inspiring – it was literally an Ode to Freedom and the joy that is found in freedom. Through our singing, we asked God and all the powers above to protect and defend our country, to grant freedom to every Ukrainian.”

It’s been amazing to spread Ukrainian music, with its culture and folklore, across the UK.

The Songs for Ukraine Chorus was established in Spring 2023 in response to Russia’s invasion of Ukraine. The ensemble is a creative exchange between the Royal Opera House and the London Ukrainian community, creating a safe space for 130 Ukrainians (most of whom have been displaced by the war) and demonstrating the power of music to inspire hope in the face of extreme adversity. Dmytro discusses his experience with the choir: “When I joined the Songs for Ukraine Chorus in February 2023, I wasn’t sure what scale the project would be, but there were between 100 and 150 Ukrainians present at the first rehearsal! We had our first concert in Mach 2023, rehearsing and performing together with the Royal Opera House – it was an absolutely amazing experience. A year of the war had passed and I felt like I was truly reconnecting with the Ukrainian community again – it was wonderful to be amongst people who understood and experienced my culture.

We also participated in a wonderful concert in Bradford Cathedral. I’ve made lots of really close friends in the choir and the project continues to develop on an even greater level. I really like that we perform on big platforms in venues where we can tell people about ourselves, remind them about the war, and ask for their support. It’s been amazing to spread Ukrainian music, with its culture and folklore, across the UK.”

The choir’s repertoire mostly consists of Ukrainian songs. People have completely different musical experiences within the choir: some members are professionals and trained singers, while some are reading music for the first time.

The Royal Opera House recently divided the choir into two – one larger group where everyone takes part, and a smaller, more experienced chamber choir. Dmytro discusses the musical process behind the final performance at St Paul’s Cathedral with the larger choir. “We had multiple rehearsals and the music was very difficult but incredibly beautiful,” he says. “When we initially rehearsed the work, it seemed unrealistic because the music is unbelievably difficult with lots of complex runs and leaps. However, Keri-Lynn managed the choir amazingly. I don’t know how she did it when we were performing – she paid attention to each part of our huge choir and orchestra. She carefully controlled the whole process, running rehearsals from March to July and rehearsing with us on the day. We knew every nuance, every detail, every melisma, everything that she felt and thought about the piece. It was brilliantly organised.

“There were many people who supported this project and the Royal Opera House elevated it to a whole new level – they really helped us with mastering the vocal parts. I still can’t believe how they joined it together and how it all worked out in the end. It sounded absolutely astonishing: I listened to a recording of the concert afterwards. You don’t hear this when you’re rehearsing in the choir, but when you’re reviewing it from the side, it’s a completely different experience.

“The symbolism of this performance was enormous. So many Ukrainians performing together – some, like me, lived here previously, some moved because of the war. Everyone was together and working as one – collaborating, making friends, connecting. It was like being back at my homeland again. It’s so nice being in the choir, the people are truly wonderful.”

It was a huge act of musical freedom.

The Ambassador of Ukraine to the United Kingdom Valerii Zaluzhnyi attended the performance and gave a speech in Ukrainian before it began. “It inspired everyone so much, we were so motivated,” says Dmytro. “We started the concert with Bucha. Lacrimosa. by Victoria Vita Polevá. Only the orchestra was playing and there was a bell sound that resonated across the cathedral. It was a hugely symbolic moment, recognising that there’s a war in Ukraine and people are dying while the bell is ringing. It’s horrendous. The public absolutely loved the performance and were entranced by it – we hadn’t ever heard the programme in full either and it had a lasting impression on all of us. Performing in a historic London venue which stood through the war and survived was so striking. We felt Ukraine again. I think the British public, who haven’t seen war and were born here, also felt a part of what we feel every day, even while living here in London. All our family are there. It hurts, it’s incredibly painful – but with ‘Ode to Joy’ at the end, it concluded the concert with hope. There will be victory and our choir and orchestra confirmed it. It was a huge act of musical freedom. For London and for Ukraine, this is very important.”

Prior to the concert, the professional chamber choir within the Songs for Ukraine Chorus were invited to perform a section of Beethoven’s “Ode to Joy” in Ukrainian and Prayer for Ukraine on BBC Radio’s programme ‘In Tune’. “It was quite interesting because it was inside a studio, but we’re used to rehearsing in a church,” reflects Dmytro. “The acoustic is very different. We started singing really loudly and projecting, because we’re used to giving it our all in churches and singing at full volume, but the studio acoustic was dry, so we had to adapt to that. Singing in a studio is also different because you’re looking at walls rather than an audience. You don’t hear yourself as much. The team who recorded it were wonderful – everything was in an optimal format, the grand piano sounded sensational. Keri-Lynn flew over and conducted us. She’d never conducted the Prayer for Ukraine, but she took the music, looked through it for five minutes, and led us through it with such ease and grace.”

As part of the Songs for Ukraine Chorus Chamber Choir, Dmytro also sang for Ukraine’s First Lady, Olena Zelenska, during a visit to 10 Downing Street. In a special reception hosted by the wife of the former British Prime Minister Akshata Murty and the First Lady of Ukraine Olena Zelenska, the choir performed two of Ukraine’s most celebrated compositions: the Ukrainian National anthem and Prayer for Ukraine. The choir interacted and communicated with Olena Zelenska and Akshata Murty, emphasising that they wished to be ambassadors to raise money for Ukraine through charity concerts and help the country win the war. “The meeting aimed to share our culture and show that London has a thriving Ukrainian community and an immense support for Ukraine”, says Dmytro.

Dmytro moved to the UK in 2019, after graduating from the R. Glier Kyiv Institute of Music as a Junior Specialist in Voice and Opera. He speaks about his musical journey and how it has continued to develop: “I was very, very happy to be offered a place at Trinity Laban – I dreamt of doing Musical Theatre since my childhood. I applied to Trinity Laban two years ago and am currently in the second year of my undergraduate. The course is amazing, it’s intense but really fun. I love the people, the community, and the quality of all the teaching is excellent.

“On the Musical Theatre course, everyone starts with different levels of expertise. I came in with a high level of singing and had less experience in dance and acting, but everyone has been so inspiring and supportive. This course has been a wonderful opportunity for me, a huge personal success.”

The performances that Dmytro has taken part in have been wide-ranging, including Opera Greenwich’s production of Puccini’s La bohème in summer 2024. The production consisted of both professionals and amateurs, and Dmytro performed as part of the chorus. “It’s one of the best experiences and training that I’ve had,” he says. “This version of La bohème is strikingly modern, it’s been interpreted completely differently. The rehearsals went by in a flash, we never seem to have enough time! I love it so much and it’s been fascinating to perform. I’ve found opera performance really enjoyable as I can do so much more as an actor than I could previously.

The Musical Theatre course at Trinity Laban is amazing… I love it, it doesn’t limit me at all.

“The Musical Theatre course at Trinity Laban is amazing. In my first year, we did a lot of pre-1965, it’s more operatic in style. I love it, it doesn’t limit me at all. The quality of my singing and voice has improved in leaps and bounds. It’s wonderful, I feel like I’ve made huge progress, not only in Musical Theatre but in opera too. I am extremely happy and grateful. I’m getting knowledge in all the spheres that I need and the course has given me so much. It’s so enjoyable and the preparation for shows is amazing. I was Vocal Captain in the June Showcase and I was in my element.

“I felt like my voice was heard and made a difference. There’s no strict framework to this showcase, you could contribute your own thoughts, do it your own way. Your creativity can go in directions you don’t even expect – on the stage, you bring the ideas that weren’t given to you but ones that you helped to create. We had one month of preparation for the Musical Theatre Showcase and I was in Oliver and Wonderful Town. The process was quite full-on, we had a lot of rehearsals and although it was tiring, it was so great. Over the summer holidays, I missed the feeling so much and was waiting for when I could do this again! It’s what I really want to do. I loved working as Vocal Captain with my cohort and friends, I love them all so much – they are the best! Everyone listened to me, the rehearsals went perfectly, and I prepared as much as possible for them. They were all so supportive – I have a vocal background so can give a lot of direction in that area, but not as much with dance. Everyone was ready to help me with dance, we formed such a strong team. The result came out on stage and the communication was great. You see it straight away – our cohort made it simple. It’s the best feeling.”

Image Credits: Royal Ballet & Opera