‘Looking back, it seems ridiculous that cathedrals couldn’t hire women’

Singing in a cathedral choir has historically been, until relatively recently, a man’s world. It’s difficult to imagine a society today where women couldn’t vote, become a priest, scientist or join the army, for example. There have been exceptions, but most jobs in the UK are now available to anyone in theory. The slow and steady progress towards gender equality has been marked over time by many as unremarkable as myself, wanting to follow their passion and to do jobs that were previously unavailable to them. There is still a little way to go, but it is important to show future generations that, if you’re good at something, there is no reason why you shouldn’t be allowed to do it.

Females in Anglican cathedral choirs have been on the scene since the early 1970s, but have since made steady progress toward becoming accepted into what was previously a very male domain. However, choirs such as those at Christ Church in Oxford, still seek to appoint only male altos with adverts proclaiming vacancies arising for ‘countertenor lay clerks’ (men who sing within the range of female altos). To some women wanting to pursue a career in singing, this can be seen as quite a snub and most, like me, wouldn’t have considered it as an option only a few years ago.

Accepting women into this role has caused considerable controversy over the decades, with the Campaign for the Traditional Cathedral Choir at the forefront of the arguments against using female voices in this setting since its foundation in 1991. They represent the voice of those who feel that women are threatening the long-standing tradition of using all-male choirs in cathedrals, standing up for the “unique quality of the all-male choral sound”.

I too can see the appeal of the countertenor voice. They offer an expressive, mellow and pure quality in the voice that cannot be replicated entirely by your average female. This being said, they are perhaps a dying breed. In my opinion this is not because women are pushing them aside, but because there seem to be fewer of them singing to the high standard expected from a cathedral choir. It would be a real shame to lose them entirely and perhaps some churches are right to retain this sound so that we can preserve it, in a similar way to the care with which a museum preserves its rare and beautiful artefacts.

After graduating with a music degree, I moved to Lincoln in 2011 and found that the cathedral was looking to appoint an alto within a few weeks of my arrival. I hadn’t considered this as an option at the time, knowing the attitude towards women in cathedral choirs, but they were keen to hear me. Soon afterwards, I was offered the position and felt quite rightly excited; I simply couldn’t believe that I was being given this opportunity. I became the first ever full-time female alto choral scholar at the historic cathedral. Looking back, it seems somewhat ridiculous that cathedrals felt that they couldn’t hire a woman on the back row. Lincoln Cathedral, being one of the first cathedrals in England to do so, set an example to others and a number of cathedrals, including St Paul’s, Chester and Winchester, have followed suit.

Fast forward to 2016 and Bristol Cathedral was also looking for an alto. Again, I hesitated before applying because I didn’t expect to be able to compete with a counter-tenor. It’s also hard to judge whether an advert is simply trying to be inclusive but, ideally, would like the usual. However, I was hired because I could do the job well and had the experience and not because I ticked the gender equality box.

Far from feeling harassed or being treated unfairly because of my gender, I have received nothing but support from my colleagues over the years and have been undisturbed in pursuing my passion for singing liturgical music within this setting, even receiving one or two letters of support when Lincoln made the news. I was made to feel very welcome when I first joined Bristol Cathedral choir a year or so ago and still feel the same way today.

My unique position was acknowledged and celebrated, but not heralded, and as such I have never felt conspicuous; simply part of the family that is the cathedral choir. I also love to think that the girl choristers at the cathedral are now able to see this as a potential option for their futures and indeed also shows the boys the value of equality. Alongside my colleague, Ailsa Campbell (the first ever full-time female alto choral scholar at Bristol Cathedral), we have been able to perform a wide range of music with two females in the back row. I’d like to think that we now have greater flexibility in what we can achieve as a choir. I take great pride in my work and relish the opportunity to sing in such a great setting.

Helen Vincent sings with the choir of Bristol Cathedral as a lay clerk – a permanent position within the adult choir that is available to all genders. She also works as a full-time music school administrator and freelance singer between services.