Bernstein - Chichester Psalms - Royal Philharmonic Orchestra conducted by Vasily Petrenko

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Last night's concert from the Royal Philharmonic certainly drew a healthy crowd, and it had one sure-fire blockbuster in the shape of Mahler's first Symphony. But the main piece alongside it Bernstein's Chichester Psalms so often intimate and delicate in sound, unexpectedly stole the show. The combination of Broadway sassiness, neo-classical austerity and delicate inwardness can feel strained. Yet, under the sensitive direction of conductor Vasily Petrenko, it seemed a proper masterpiece.

What made it so was partly the singing of the Philharmonia Chorus. "Awake, psaltery and harp, I will rouse the dawn," says the opening lines of Psalm 108, and the chorus's fierce almost-harsh sound was exactly right for that sentiment. The orchestra was also on wonderful form. In their hands, Psalm 100 danced along like a number from a forgotten musical, the percussion and pizzicato strings touching in their irregular rhythms without over-emphasis. To call it restrained wouldn't be right because that sounds dull, and this was anything but. It was more a sense that Bernstein's dancing rhythms should always be infused with reverence, a feeling Petrenko and the performers caught beautifully.

Then came that moment in Psalm 23, when a boy treble lends a pearly innocence to the lines "The Lord is my Shepherd, I shall not want." On this occasion, treble Edward Scholes gave those lines something more, a trembling expressivity which was deeply touching. After a brief moment of anger against ungodly rulers, the piece calmed to a reflective tone, the final chorus hushed but glowing with inner heat. It was altogether wonderful.

Ivan Hewett - The Telegraph, 22 October 2025

Joe Hisaishi - The End of the World - Royal Philharmonic Ochestra conducted by Joe Hisaishi

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There were hints of Stravinsky, strictly atonal lyricism and big band jazz alongside symphonic landscaping that marshalled the RPO, BBC Singers and Philharmonia Chorus into sweeping waves of sound, all colourful post-minimalism topped by frothing strings.

Flora Willson, The Guardian, 15 August 2025

Max Richter - Cosmology - Philharmonia Ochestra conducted by André de Ridder

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....and the women of the Philharmonia Chorus cutting through the instrumental mush to float an ethereal descant based on Bach's chorale Wachet auf.
Richard Morrison, The Times, 16 May 2025

Zimmer/Gerrard - Gladiator Live
Royal Philharmonic Concert Orchestra conducted by Timothy Henty

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The Philharmonia Chorus add depth and atmosphere that re-enforces the innate the mood of the film's ancient Roman setting, providing a sense of grandeur and majesty.
Aliya Al-Hassan, Broadway World, 26 April 2025

....as you witness the Philharmonia Chorus standing up and down at points to sing the glorious and riveting score, see the percussion section move back and forth in between the dozens (yes, dozens!) of different instruments, ranging from the tambor-tom-beck, tombo (a much richer bass drum), and classic drum-kit, as well as witness the first cellist play the all-too well-known and one of my all time favourite cello themes, you do realize that this is much more than simply a movie with some live music - it is a production of epic proportions. It never ceases to amaze me how in sync the musicians and vocalists are with the film, never missing a beat during the whole two and a half hour screen-time. At some points, you forget that you are even listening to a live concert - your brain reverts back to thinking the music is simply a recording.
esandin15, ayoungishperspective.co.uk, 28 April 2025

Bernstein - Chichester Psalms
Philharmonia Orchestra conducted by Marin Alsop
Royal Festival Hall, London

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The Philharmonia Chorus blended beautifully in Bernstein's plush polyphony
Mark Pullinger, Bachtrack, 25 April 2025

The Philharmonia Chorus sounded like professionals as they launched into their "Urah, hanevel"s
David Nice, The Arts Desk, 26 April 2025

It took off with panache and the Philharmonia Chorus found electrifying precision in the cross rhythms. Moreover the Philharmonia Chorus solists did a grand job as did the cello quartet. It was, overall, a powerful performance of a splendid work.
Susan Elkin, susanelkin.co.uk, 26 April 2025

Verdi - Messa da Requiem
Philharmonia Orchestra conducted by Riccardo Muti
Royal Festival Hall, London

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Every time the screaming descent of the Dies irae recurred, with the percussionist thwacking two mighty drums at once, the thrilling attack of the Philharmonia Chorus hit you between the eyes. And the choristers were just as effective, in a very different way, in the Requiem's hushed opening and the whispered chants at the end, which were sepulchral and chilling.
Richard Morrison, The Times, 28 March 2025

The orchestra and chorus were on great form, not just in the tremendous Dies Irae where the percussionist thwacked two bass drums simultaneously, with a sound that was like the earth cracking but in the quieter moments. The oboe's pathetic outcries in the Ingemisco ("I groan") section were heart-rending, and the chorus were equally strong in the dancing Sanctus the one moment of joy and optimism and in the massive Libera Me that ends the work.
Ivan Hewett, Telegraph, 28 March 2025

The Chorus in particular, and director Gavin Carr, had a night to savour: glittering in razor-edged entries; earth-moving in the savage eruptions of the Dies irae but (in contrast) airborne, angelic and even playful in the Sanctus. From the boom of the Rex tremendae to the hush of the Agnus dei, they commanded each rung on the Verdian ladder of sound and sense that stretches from earth to heaven then down to the brink of the inferno.
Boyd Tonkin, The Arts Desk, 28 March 2025

The Philharmonia Chorus were on top form: crisp diction, precise and agile at top and bottom, deeply responsive to the podium.
Dominic Lowe, Bachtrack, 28 March 2025

The chorus were first class, from the hushed unaccompanied opening 'Requiem aeternam' to the hurled out 'Dies irae'. Muti had clearly been working on them to clearly pronounce certain important words such as 'calamitatis'. I admired, in particular, the intonation of the sopranos on their high notes and the mellow weight of the alto section. The men came strongly to the fore in an overwhelming 'Tuba mirum' and shook away the cobwebs with a forceful 'Rex tremendae', though having them stand right on their first note did not make their job easy.
John Rhodes, Seen and Heard International, 28 March 2025

The opening 'Introit and Kyrie' was taken slowly, but what was so beautiful about it was the extreme dynamic shading of it: at times the Philharmonia were almost inaudible, the choir breathtaking as if floating above the line. The Dies Irae arrived with shocking power - Muti's downbeat as powerful and fast as I ever heard it done in concert, the first 'd' on the 'Dies' from the chorus hammered down like one vast nail. The choral singing was absolutely first rate: a superlative 'Tuba Mirum', gorgeous altos throughout, and a memorable 'Rex tremendae'.
Marc Bridle, opertoday.com, 31 March 2025