http://www.philharmoniachorus.co.uk/news_items Philharmonia Chorus News en-us The Chorus has recorded the choral music for the third series of the BBC Arthurian fantasy series <i>Merlin</i>. Composer Rob Lane and chorus master Deborah Miles-Johnson presided over the sessions, which took place at The Angel Studios, Islington, London. The new series of Merlin will be screened by BBC1 on Saturday evenings from the end of September to December. Hear the Chorus now in three excerpts from the second series of <i>Merlin</i> - click on 'Listen' above.

It is with great sadness that the Chorus learned of the death of the distinguished conductor, and the Chorus’s President, Sir Charles Mackerras. The Chorus sang under his baton many times, most notably a <i>Messiah</i> in Orange, and the Chorus' first appearance at La Scala Milan with Handel's <i>Judas Maccabeus</i>. In recent years there were performances of Beethoven’s 9th Symphony and Mozart’s Requiem with the Philharmonia Orchestra, and in a memorable semi-staged performance of Weber’s <i>Der Freischütz</i> with the Scottish Chamber Orchestra at the Edinburgh International Festival. Chorus members would look forward to his engagements with keen anticipation, for they knew to expect a warm personality as well as wonderful music making. He was a galvanizing presence on the British and world musical scene, and the Chorus was immensely proud to have him as its President. He regarded the position as not merely honorary, but actively promoted the interests of the Chorus at every opportunity. We will always be grateful to him.

It is with great sadness that the Chorus learned of the death of the distinguished conductor, and the Chorus’s President, Sir Charles Mackerras. The Chorus sang under his baton many times, most notably a <i>Messiah</i> in Orange, and the Chorus' first appearance at La Scala Milan with Handel's <i>Judas Maccabeus</i>. In recent years there were performances of Beethoven’s 9th Symphony and Mozart’s Requiem with the Philharmonia Orchestra, and in a memorable semi-staged performance of Weber’s <i>Der Freischütz</i> with the Scottish Chamber Orchestra at the Edinburgh International Festival. Chorus members would look forward to his engagements with keen anticipation, for they knew to expect a warm personality as well as wonderful music making. He was a galvanizing presence on the British and world musical scene, and the Chorus was immensely proud to have him as its President. He regarded the position as not merely honorary, but actively promoted the interests of the Chorus at every opportunity. We will always be grateful to him.

The Philharmonia Chorus has appointed Stefan Bevier as its Chorus Master. Stefan Bevier originally studied singing and double bass at the Hochschule der K&#252;nste, Berlin, and obtained a scholarship from the Herbert von Karajan Foundation. He was a member of the Orchestra Academy of the Berlin Philharmonic Orchestra as well as a regular deputy for them under Herbert von Karajan. Stefan studied singing with Dietrich Fischer-Dieskau, Schuch-Tovini and Aribert Reimann, and conducting with the former Chief Conductor of the Berlin Philharmonic, Sergiu Celibidache. He has worked closely with many conductors of international stature, including Herbert von Karajan, Eugen Jochum, Karl B&#246;hm, Leonard Bernstein, Lorin Maazel, Colin Davis, Ricardo Muti, Claudio Abbado and Sir Simon Rattle. He is the Chief Conductor of the Festival Orchestra Berlin, the Barock Orchester Berlin, and the founder and conductor of the European Vocal Soloists. He also works internationally as an orchestral and choral conductor of various ensembles, including the Russian National Orchestra of Moscow, the Israel Sinfonietta, Ricordanza Soloists of Wroc&#322;aw, Festival Orchestra Wroc&#322;aw, the Wroc&#322;aw Orkiestra Kameralna Leopoldinum, and the European Bach Players. He is active in giving master classes, singing lessons and running conducting courses and he provides musical instruments from his extensive private collection to young musicians. He also provides financial sponsorship for many charitable organizations. Stefan started working with the Philharmonia Chorus in 1999, and became Associate Chorus Master in 2004, and Principal Guest Chorus Master in 2008. He was appointed Chorus Master in April 2010. He has prepared the Chorus for many concerts, including Parsifal with Sir Simon Rattle and the Rotterdam Philharmonic Orchestra in 2000, and Brahms&#39;s Ein deutsches Requiem with the Philharmonia Orchestra under Lorin Maazel in June 2008. In 2010 he prepared the Chorus for Mahler&#39;s Second Symphony with the Philharmonia Orchestra under Eliahu Inbal, and for Beethoven&#39;s Ninth Symphony with the Orchestra of the Age of Enlightenment under Ilan Volkov. More details can be found on his <a href="http://www.musikerportrait.com/stefan-bevier"_blank">website</a>.

The Philharmonia Chorus has appointed Stefan Bevier as its Chorus Master. Stefan Bevier originally studied singing and double bass at the Hochschule der Künste, Berlin. He obtained a scholarship from the Herbert von Karajan Foundation, and played regularly with the Berlin Philharmonic Orchestra as a double bass player. Stefan also studied singing with Dietrich Fischer-Dieskau, Schuch-Tovini and Aribert Reimann, and conducting with the former Chief Conductor of the Berlin Philharmonic, Sergiu Celibidache. He has worked closely with many conductors of international stature, including Herbert von Karajan, Eugen Jochum, Karl Böhm, Leonard Bernstein, Lorin Maazel ,Colin Davis, Ricardo Muti , Claudio Abbado and Sir Simon Rattle. He is the Chief Conductor of the Festival Orchestra Berlin, the Barock Orchester Berlin, and the founder and conductor of the European Vocal Soloists. He also works internationally as an orchestral and choral conductor of various ensembles, including the Russian National Orchestra of Moscow, the Israel Sinfonietta, Ricordanza Soloists of Wroc?aw, Festival Orchestra Wroc?aw, the Wroclaw Orkiestra Kameralna Leopoldinum, and European Bach Players. He is active in giving master classes, singing lessons and running conducting courses. Stefan started working with the Philharmonia Chorus in 1999, and became Associate Chorus Master in 2004, and Principal Guest Chorus Master in 2008. He has prepared the Chorus for many concerts, including Parsifal with Sir Simon Rattle and the Rotterdam Philharmonic Orchestra in 2000, and Brahms’s Ein deutches Requiem with the Philharmonia Orchestra under Lorin Maazel in June 2008 More recently he prepared the Chorus for the performance of Mahler’s Second Symphony with the Philharmonia Orchestra in February this year, and the performances of Beethoven’s Ninth Symphony with the Orchestra of the Age of Enlightenment in April.

Symphony No.9 - Beethoven Rebecca Evans - soprano Diana Montagu - mezzo-soprano Timothy Robinson - tenor Christopher Purves - bass Orchestra of the Age of Enlightenment conducted by Ilan Volkov <i>The Beethoven symphony cycle that has been occupying the Orchestra of the Age of Enlightenment since the start of the year is close to reaching its summit. Four days of supporting events are coming up at King’s Place next weekend – called “Beethoven with Guts”, as if the journey has been a tough one – and Friday’s penultimate concert on the South Bank consisted simply of a performance of the Ninth Symphony. The conductor was to have been Charles Mackerras, but sadly he had to withdraw because of illness – a shame, as the evening newspapers had just broken the news that BBC Radio 3 is launching its first classical music chart programme and Mackerras has come in at number two. Not bad to have a top 10 hit at the age of 84. In his place we had Ilan Volkov, best known as the chief conductor until last year of the BBC Scottish Symphony Orchestra. His view of the symphony was youthfully energetic – not that the octogenarian Mackerras would probably have sounded any less youthful – and he set about the music with enough determination to earn the “Beethoven with Guts” label. This was a big performance, as befits a venue the size of the Royal Festival Hall. The playing of the large band was sometimes ragged, a consequence perhaps of the last-minute change of conductor, but its clarity was more than just the usual period-instrument transparency: real care had been taken in balancing the orchestral parts. Having set urgent speeds for each movement, Volkov kept to them rigorously. This gave the symphony undeniable momentum, but at the points where the music needs only a second or two to catch its thoughts, Volkov pressed on regardless, leaving the listener breathless and rather exasperated – like a man who keeps running for the bus only to see it set off as he reaches the door. The solo quartet was led by Christopher Purves, warm-hearted rather than momentous in the opening bass solo. Rebecca Evans and Diana Montague were the well-matched soprano and mezzo, and Timothy Robinson, squeezing his voice uncomfortably, was the tenor. Best of all was the Philharmonia Chorus, which sounded refreshed and invigorated by its gutsy, period-instrument Beethoven experience.</i> Richard Fairman, Financial Times, 12 April 2010 <i>Ilan Volkov faced an unenviable task when Sir Charles Mackerras's poor health forced him to withdraw from the climactic concert of the Orchestra of the Age of Enlightenment's Beethoven series. To take over from such a revered conductor whose work with this band has provided some of this country's most memorable orchestral music-making of the last decade, and in Beethoven's Ninth Symphony of all pieces, was a tall order indeed. Volkov did his best, but we missed Mackerras, and there is no point pretending otherwise. Volkov took a fast and direct approach to the Ninth. This is standard practice for period performances of Beethoven and greater familiarity has certainly not bred contempt for this liberated and often thrilling method. The scherzo, in particular, had a Dionysian propulsion that was hard to resist. But there is also no denying that there can be losses. The Ninth is not just any other score. It has many moments of cosmic tension – not least the symphony's opening – that require something more searching than the press-on approach, and Volkov was at his least persuasive here. There were one or two moments of false intonation and occasional slack ensemble, too. But the best feature of this performance was the colouring, balance and interplay between the strings and the orchestra's often superb wind sections, especially in the adagio. In the final movement, the vocal soloists were well matched and professional, though Christopher Purves's bass felt a bit routine. Timothy Robinson was showed far more character in the tenor solo, accompanied by a fruity oompah march. The Philharmonia Chorus were in cracking form, too, and Volkov drove his forces to a breathlessly exuberant finish.</i> Martin Kettle, The Guardian, 12 April 2010 <i>Though early 19th-century audiences were wowed by the grandeur of Beethoven’s Ninth Symphony and thrilled by the turbulent symphonic energies unleashed for the final time by this ageing titan, they were baffled too. In each movement the composer broke conventions: in form, harmony, musico-dramatic scope and range of forces used. Plenty of contemporary reports attest to the shock that listeners felt at every turn. One unintended consequence of this performance — part of the Orchestra of the Age of Enlightenment’s Beethoven cycle — was that authentic bewilderment seemed recreated afresh. For although the young Israeli conductor Ilan Volkov drove through the allegros with vim and vigour (conjuring, in the finale, surely the first galloping German band in history), the daring harmonic twists, especially in the slow movement, seemed to catch him unawares time and again. In one way that was refreshing. These days we know the Ninth so well that what once sounded shocking now seems as comfortable as a well-worn cardigan. With the OAE’s period brass adding a raw rasp to the climaxes, the strings vibrato-less and viol-like for much of the slow movement, and the woodwinds often palpably struggling to attune their old instruments to Beethoven’s bucking lines, there was a real feeling of entering into an early 19th-century soundworld. But I wish that Volkov had matched this with an interpretation that offered a viewpoint on the work’s profound ambiguities. Too much here seemed delivered, sometimes slightly scrappily, but not considered. It was impossible not to miss the galvanising presence of Sir Charles Mackerras, who should have been conducting but was too ill. Still, the soloists were adequate (though I wish they had sung their few notes from memory); and the Philharmonia Chorus much more than that. In choral circles there’s a fair bit of controversy about this amateur ensemble’s decision to stiffen its ranks with young professionals. Whatever the rights or wrongs, it sounded here like a choir reborn.</i> Richard Morrison, The Times, 13 April 2010 <i>Si de algo podemos estar seguros es de que la OAE, es una orquesta diferentes. La idea de reproducir el sonido con los instrumentos históricos, es llevada por esta formación hasta las últimas consecuencias. El proyecto, de indudable interés, llenó el Auditorio con la 'Novena sinfonía' de Beethoven, bajo la dirección del joven Ivan Volkov, que sustituía a Charles Mackerras. Tardamos en adaptar el oído al sonido peculiar de estos instrumentos de menor recorrido sonoro y opaco timbre. Y aunque la voluntad, conocimiento y planificación del joven director fueron irreprochables, el sonido decepcionó en el primer tiempo en el que hubo más de un desajuste. Ya en el scherzo se vieron claras las intenciones de Volkov: Ritmo muy vivo y marcados fraseos con claridad diáfana en las identidades de cada sección, aunque la cuerda no fue un modelo de afinación. Poco a poco la defragmentación beethoveniana de estos tiempos y del cantabile, fue reconstruida con detalle, en una vertiginosa versión. Volkov supo mantener la tensión necesaria hasta la llegada del último movimiento en el que la aportación del Coro Philharmonia fue sobresaliente. Sus voces exactas en impostación, estilo y afinación, marcaron con precisión el majestuoso presto con un cuarteto de solistas exquisito en el empaste, aún con las ya sabidas dificultades en la parte de la soprano. La aportación decisiva de la percusión redondeó con brillantez esta milagrosa sinfonía aportando novedades que ayudan a engrandecerla a lo largo del tiempo. We can be certain of one thing: the OAE is an entirely different type of orchestra. The idea of reproducing sound with the historical instruments of its time is taken to the last consequences by this formation. The project, of undeniable interest, filled the Auditorium with Beethoven’s Ninth Symphony conducted by young Ivan Volkov, who was standing in for Charles Mackerras. It took us some time to adapt our hearing to the peculiar sound of these instruments, of narrower sound range and dull timbre. Notwithstanding the intentions, skill and planning of the young conductor, which were beyond reproach, the sound during the first movement was disappointing, due to lack of coordination more than once. The scherzo clearly revealed Volkov’s intentions: a very lively rhythm with marked phrases, and diaphanous clarity in the identity of each section - though the strings were not a model of tuning. Step by step the Beethovenian defragmentation of these tempos and of the cantabile were reconstructed in detail, in a vertiginous version. Volkov maintained the required tension until the advent of the last movement, and the contribution of the Philharmonia Chorus was outstanding. Their voices, of exact placement, style and tuning, marked the majestic presto with precision with a quartet of soloists blending exquisitely, in spite of the well-known difficulties of the soprano parts. The decisive intervention of the percussion brilliantly rounded up this miraculous symphony, in a novel approach which contributes towards its growth in stature through time.</i> Emiliano Allende, El Norte de Castilla, 13 April 2010 (with thanks to Silvia Zumarán for the translation)

<i>'Best of all was the Philharmonia Chorus, which sounded refreshed and invigorated by its gutsy, period-instrument Beethoven experience.'</i> Richard Fairman, Financial Times, 12 April 2010 <i>'The Philharmonia Chorus......sounded here like a choir reborn'</i> Richard Morrison, The Times, 13 April 2010 <i>'The Philharmonia Chorus were on cracking form'</i> Martin Kettle, The Guardian, 12 April 2010 <i>'The movement was impelled with stirring clarity......the chorus masterful'</i> Paul Driver, The Sunday Times, 18 April 2010 <i>'The Philharmonia Chorus brought vibrancy, bite and panache'</i> Anna Picard, The Independent on Sunday, 18 April 2010 <i>'The most outstanding contribution of the evening came from the Philharmonia Chorus who sang with pin-point accuracy and gusto throughout, and they were rightly rewarded with the biggest ovation of the evening.'</i> Keith McDonnell, www.musicomh.com <i>'Volkov supo mantener la tensión necesaria hasta la llegada del último movimiento en el que la aportación del Coro Philharmonia fue sobresaliente. Sus voces exactas en impostación, estilo y afinación, marcaron con precisión el majestuoso presto con un cuarteto de solistas exquisito en el empaste, aún con las ya sabidas dificultades en la parte de la soprano.'</i> <i> 'Volkov maintained the required tension until the advent of the last movement, and the contribution of the Philharmonia Chorus was outstanding. Their voices, of exact placement, style and tuning, marked the majestic presto with precision with a quartet of soloists blending exquisitely, in spite of the well-known difficulties of the soprano parts.'</i> Emiliano Allende, El Norte de Castilla, 13 April 2010

On Friday, 9 April at 7.30pm, the Philharmonia Chorus performed Beethoven's Ninth Symphony in the Royal Festival Hall, London, with the Orchestra of the Age of Enlightenment under the exciting young conductor, Ilan Volkov. This concert completed its cycle of Beethoven symphonies. Two days later, on Sunday 11 April, the concert was repeated in the Auditorio Miguel Delibes, Valladolid, Spain. The London performance was recorded by BBC Radio 3 for future broadcast.

The Philharmonia Chorus performed Beethoven's Ninth Symphony in the Royal Festival Hall, London, with the Orchestra of the Age of Enlightenment under the exciting new conductor, Ilan Volkov. Two days later, on Sunday 11 April, the concert was repeated in the Auditorio Miguel Delibes, Valladolid, Spain.

The Philharmonia Chorus will be performing the St John's Passion by James MacMillan in King's College, Cambridge, with Mark Stone (baritone), the Choir of King's College, Cambridge, and the BBC Concert Orchestra conducted by Stephen Cleobury in the Chapel of King's College, Cambridge on Friday, 2 April, Good Friday. James MacMillan's St John Passion is a large scale, dramatic presentation of the passion story. It is scored for two choruses - a Narrator Chorus (to be sung by the Choir of King's College, Cambridge), and Large Chorus (Philharmonia Chorus). The Chorus is being prepared by Nicholas Chalmers. This is the first time the Chorus has worked with Nicholas, who is Assistant Chorus Master at English National Opera. King's College Cambridge will be the perfect setting for the work, and this will be the culmination of this year's <a href="http://www.kings.cam.ac.uk/events/easter-at-kings/"target=_blank>Easter at King's</a> in which MacMillan's music features strongly. The performance will be broadcast live on BBC Radio 3, and this will be work's first broadcast performance.

On Good Friday, the Philharmonia Chorus will be performing the St John's Passion by James MacMillan in King's College, Cambridge, with Mark Stone (baritone), the Choir of King's College, Cambridge, and the BBC Concert Orchestra conducted by Stephen Cleobury. The performance will be broadcast live on BBC Radio 3.

Mahler Symphony No.2 (Resurrection) Caroline Stein (soprano) Ekaterina Semenchuk (mezzo-soprano) Philharmonia Chorus Philharmonia Voices Philharmonia Orchestra conducted by Eliaju Inbal Royal Festival Hall, London, 11 February 2010

<i>'The barely audible “shh” of the chorus in their opening “Aufersteh’n” and “Staub” were like puffs of wind lifting the music from mere mortality and toward the light, and the cymbal stroke and harp glissando at “Was entstanden ist” was hair-raising.'</i> Peter Reed, www.classicalsource.com

The Philharmonia Chorus has launched its Professional Singers Scheme. Applications were invited from singers in the first 10 years of their careers, and those successful at audition will be singing as members of the Chorus in concerts later this year. Auditions were held January 13-15 at the Music Studios in Marylebone Lane, London, and singers were heard by chorus masters Stefan Bevier and Deborah Miles-Johnson, with chorus accompanist Steven Rose.

In the climax to our Christmas concert season, we are delighted to be back at the Royal Albert Hall on 21st Dec with the <a href="http://www.philharmonia.co.uk">Philharmonia Orchestra</a> and the <a href="http://www.kings.cam.ac.uk/choir/">Choir of King's College, Cambridge.</a> We're also very pleased to be joined, as last year, by members of <a href="http://www.cums.org.uk">Cambridge University Music Society</a>, all under the baton of Stephen Cleobury. It's an evening of heart warming Christmas music with plenty of opportunity for the audience to exercise their voices too - the perfect way to get into the festive spirit! A few tickets are still available from the <a href="http://www.royalalberthall.com/tickets/christmas/kings-college-choir/default.aspx">Royal Albert Hall Box Office</a>

In two sessions in August, the Chorus recorded choral music for the new series of the BBC science fiction fantasy series 'Merlin', at The Angel Studios, Islington, London. Composer Rob Lane and chorus master Deborah Miles-Johnson presided over the sessions. The new series of Merlin is now being screened by the BBC1 on Saturday evenings. Hear the Chorus now in three excerpts from 'Merlin' - click on 'Listen' above.

Find out what it is like to sing with the Philharmonia Chorus by joining us at our Open Rehearsal in Gandhi Hall at 6.30pm on Thursday 15 October, taken by our guest chorus master, Nick Jenkins. We will be rehearsing Carl Orff's Carmina Burana, which we are preparing for a concert on 24 October at the Royal Albert Hall. Please just turn up, or you can register your interest by e-mailing us - <p><b><a href="mailto:openrehearsal@philharmoniachorus.co.uk?subject=I am interested in the open rehearsal">openrehearsal@philharmoniachorus.co.uk</a></b></p> All music will be provided, and all are welcome! Gandhi Hall is in the Indian YMCA, 41 Fitzroy Square, London, W1T 6AQ, and it situated at the junction of Grafton Way and Fitzroy Street. The nearest underground stations are Warren Street and Great Portland Street.

Find out for yourself what it is like to sing with the Philharmonia Chorus by joining us at our Open Rehearsal in Gandhi Hall at 6.30pm on Thursday 15 October

The Chorus will record the music for the forthcoming series of the BBC TV science fantasy series, 'Merlin' to be screened in the autumn. The recording will take place in two sessions in August at Abbey Road Studios.

Mendelssohn - Mitten wir im Leben sind Mendelssohn - Herr, nun lässest du deinen Diener in Frieden fahren Kodály - Laudes Organi Pärt - Which Was the Son of... Conductor - Edward Caswell Soprano - Eleanor Bonney (Cathedral Chorister) Baritone - Richard Latham Organ - Daniel Cook

Philharmonia Chorus sings the ethereal Fauré Requiem in the medieval Salisbury Cathedral. Also included in the programme are Mitten wir im Leben sind and Herr, nun lässest du deinen Diener in Frieden fahren by Mendelssohn, Kodály's Laudes Organi and the quirky Which Was the Son of... by Arvo Pärt.

Find for yourself what it is like to sing with the Philharmonia Chorus by joining us at our Open Rehearsal at 6.30pm on Thursday 25 June, taken by our Artistic Director, Edward Caswell. We will be rehearsing the Fauré Requiem and Handel's Zadok the Priest. All music will be provided. Please just turn up, or you can register your interest by e-mailing us - <p><b><a href="mailto:openrehearsal@philharmoniachorus.co.uk?subject=I am interested in the open rehearsal">openrehearsal@philharmoniachorus.co.uk</a</b></p>. All are welcome! Gandhi Hall is in the Indian YMCA, 41 Fitzroy Square, London, W1T 6AQ. The nearest underground stations are Warren Street and Great Portland Street.

Find for yourself what it is like to sing with the Philharmonia Chorus by joining us at our Open Rehearsal at 6.30pm on Thursday 25 June

La Damnation de Faust - Berlioz Marguerite - Monica Groop Faust - Gregory Kunde Brander - James Rutherford Mephistopheles - Ildar Abdrazakov City of Birmingham Symphony Chorus Philharmonia Chorus City of Birmingham Symphony Youth Chorus BBC Philharmonic Orchestra Conductor – Gianandrea Noseda Bridgewater Hall, Manchester <i>'Berlioz's The Damnation of Faust has claims to being one of the most extreme works in the classical repertoire. Visceral in its emotional content, it subjects ideas of form and genre to drastic scrutiny in its demands that we view experience as part of a wider cosmic drama in which soul and psyche are prey to forces barely within our control. It's a gift for a maverick conductor, such as Gianandrea Noseda, whose radical and individualistic approach to music-making has affinities with Berlioz's own. Even by his usual, exacting standards, Noseda's performance with the BBC Philharmonic was exceptional in its attention to detail and focus on the work's emotional ferocity. Noseda's judgment of the equation between fractured metaphysical boundaries and the ceaseless invention of new sonorities was immaculate. The shifts between beauty and violence were faultlessly negotiated, and there were moments of almost hallucinatory vividness as Ildar Abdrazakov's Mephistopheles gained his ascendancy over the mind of Gregory Kunde's Faust. Kunde, big-voiced and fastidious, strongly conveyed Faust's weariness of spirit and his fatal lack of moral discrimination, while Abdrazakov, insidiously seductive rather than ironic and snarling, was all too plausible as his nemesis. Their victim, Monica Groop's passionate Marguérite, was touching and eloquent, if occasionally shrill. The choral singing - with the City of Birmingham Symphony and Youth Choruses augmented by the Philharmonia Chorus - had tremendous force and clarity, even when Noseda, in his quest for almost frenzied immediacy, adopted speeds that were close on breakneck. Thrilling, even dangerous stuff, and absolutely outstanding.'</i> Tim Ashley, The Guardian, 28 April 2009 - 5 stars

<i>'The choral singing.....had tremendous force and clarity, even when Noseda, in his quest for almost frenzied immediacy, adopted speeds that were close on breakneck. Thrilling, even dangerous stuff, and absolutely outstanding.'</i> Tim Ashley, The Guardian, 28 April 2009 - 5 stars

The Philharmonia Chorus will be taking part in two performances of Die Fledermaus presented by London Lyric Opera at the Cadogan Hall on 16 and 19 June. The Royal Philharmonic Orchestra will be conducted by Madeleine Lovell. <i>Die Fledermaus</i> was composed by Johann Strauss II in 1874, and has been a staple of the operetta repertoire ever since. These performances in the Cadogan Hall will feature guest appearances by pianist Leslie Howard.

The Philharmonia Chorus will be taking part in two performances of Die Fledermaus presented by London Lyric Opera at the Cadogan Hall on 16 and 19 June. The Royal Philharmonic Orchestra will be conducted by Madeleine Lovell.

7.30pm, Wednesday 1 April - Union Chapel, Islington The Philharmonia Chorus appeared at the Union Chapel, Islington in a programme of Rachmaninov, Bruckner and Pärt, conducted by their Artistic Director, Edward Caswell.

7.30pm, Wednesday 1 April - Union Chapel, Islington The Philharmonia Chorus appeared at the Union Chapel, Islington in a programme of Rachmaninov, Bruckner and Pärt on 1 April, conducted by their Artistic Director, Edward Caswell.

On 17 February London Lyric Opera presented Beethoven's classic opera in concert with the Royal Philharmonic Orchestra, under the baton of the brilliant young conductor, Madeleine Lovell. Elizabeth Connell (Leonore) headed a distinguished cast, with Jeffrey Lloyd-Roberts (Florestan), Rachel Nicolls (Marzelline), Richard Wiegold (Rocco), James Hancock (Don Pizarro), Andrew Staples (Jaquino) and Paul Goodwin-Green (Don Fernando). The Philharmonia Chorus will be joined by the Choir of Queens' College Chapel, Cambridge, and the Royal Philharmonic Orchestra will be conducted by Madeleine Lovell.

The Philharmonia Chorus took part in London Lyric Opera's concert performance of Beethoven's only opera on Tuesday 17 February at the Cadogan Hall. The Royal Philharmonic Orchestra was be conducted by Madeleine Lovell.

On 27 November 2008 the Philharmonia Chorus was privileged to be invited to participate in the debut performance by the newly-formed London Lyric Opera at the Barbican. LLO presented a concert performance of Der fliegende Holländer, Richard Wagner's early masterpiece featuring Gweneth-Ann Jeffers (Senta), Anne-Marie Owens (Mary), James Hancock (Holländer), Jeffrey Lloyd-Roberts (Erik), Karl Huml (Daland) and Richard Roberts (Steuermann) together with the Royal Philharmonic Orchestra under the distinguished Wagnerian conductor Lionel Friend. The work was performed without cuts, adhering to the composer's original keys and featuring the revised 1860 ending. The Philharmonia Chorus, trained by Madeleine Lovell, their newly appointed Associate Chorus Master, provided three separate choruses: the Norwegian mariners, the ladies and the offstage Dutch ghostly crew, who finally came together in the rousing dramatic final Act III. This was a new departure in the repertoire of the Philharmonia Chorus, who very much look forward to the next engagement with the LLO on Tuesday February 17th for a concert performance of Beethoven’s Fidelio with the Royal Philharmonic Orchestra, on this occasion under the baton of our own Associate Chorus Master Madeleine Lovell. This concert will be staged at The Cadogan Hall. Details can be found at <a href="http://www.londonlyricopera.com/" target="_blank">www.londonlyricopera.com</a></b> or <a href="http://www.cadoganhall.com/" target="_blank">www.cadoganhall.com</a></b>

On 27 November 2008 the Philharmonia Chorus was privileged to be invited to participate in the debut performance by the newly-formed London Lyric Opera at the Barbican.

<p>Lionel Friend - conductor Gweneth-Ann Jeffers - Senta James Hancock - Holländer Jeffrey Lloyd-Roberts - Erik Karl Huml - Daland Anne-Marie Owens - Mary Richard Roberts - Steuermann Philharmonia Chorus - chorus master, Madeleine Lovell Royal Philharmonic Orchestra</p> <i>"The Philharmonia Chorus was superb throughout and the amplified ghosts were truly cacophonous."</i> <b>Kevin Rogers, <a href="http://www.classicalsource.com/" target="_blank">www.classicalsource.com</a></b> <i>"...the brief third act (the opera was played with two intervals) saw a rousing sailors' chorus, with strong work from the Philharmonia Chorus, and their amplified ghostly counterparts floating eerily through"</i> <b>Simon Thomas, <a href="http://www.musicomh.com/" target="_blank">www.musicomh.com</a></b>

<i>"The Philharmonia Chorus was superb throughout and the amplified ghosts were truly cacophonous."</i> <p>Kevin Rogers, <a href="http://www.classicalsource.com/" target="_blank">www.classicalsource.com</a></p>

On Tuesday 28th October, the Philharmonia Chorus sang Leonard Bernstein's Kaddish Symphony No. 3 in a sold out performance at the Barbican. Kelly Nassief (soprano), Samuel Pisar (narrator), Trinity Boys Choir, Philharmonia Chorus, Lucerne Symphony Orchestra, conducted by John Axelrod. The dramatic and artistically challenging piece was performed as part of the Kaddish Commemorative Concert presented by the Beth Shalom Holocaust Centre in aid of the Aegis Trust. The performance marked the 70th anniversary of Kristallnacht and saw the UK premier of Samuel Pisar's moving version of the narration, which details his personal experience of the Holocaust as a child in the concentration camps of Auschwitz, Maidanek and Dachau. 'Having performed Bernstein's Kaddish with many choirs around the world, I can say with great sincerity how much a pleasure it was to work with the world class group that is the Philharmonia Chorus. The professionalism, preparation, balance, tonality, sheer energy and joy of singing was evident throughout the rehearsals and concert at the Barbican, and I do believe that the success of that performance was inextricably linked to the high quality that the chorus presented. There are many choirs that declare themselves to be great. The Philharmonia Chorus need not declare; they simply are.' - John Axelrod

On Tuesday 28th October, the Philharmonia Chorus sang Leonard Bernstein's Kaddish Symphony No. 3 in a sold out performance at the Barbican. Kelly Nassief (soprano), Samuel Pisar (narrator), Trinity Boys Choir, Philharmonia Chorus, Lucerne Symphony Orchestra, conducted by John Axelrod

Kelly Nassief (soprano), Samuel Pisar (narrator), Trinity Boys Choir, Philharmonia Chorus, Lucerne Symphony Orchestra, conducted by John Axelrod 'Having performed Bernstein's Kaddish with many choirs around the world, I can say with great sincerity how much a pleasure it was to work with the world class group that is the Philharmonia Chorus. The professionalism, preparation, balance, tonality, sheer energy and joy of singing was evident throughout the rehearsals and concert at the Barbican, and I do believe that the success of that performance was inextricably linked to the high quality that the chorus presented. There are many choirs that declare themselves to be great. The Philharmonia Chorus need not declare; they simply are.' - John Axelrod

Kelly Nassief (soprano), Samuel Pisar (narrator), Trinity Boys Choir, Philharmonia Chorus, Lucerne Symphony Orchestra, conducted by John Axelrod 'There are many choirs that declare themselves to be great. The Philharmonia Chorus need not declare; they simply are.' - John Axelrod

In September the Philharmonia Chorus travelled to Valencia to participate in a world premier recording of a new opera Wuthering Heights by the distinguished French composer and conductor Frédéric Chaslin. The libretto for the opera, after Emily Brontë’s Gothic novel, was written by Paula Heil Fisher. The chorus rehearsed the opera over a short concentrated period in London and travelled to the Palau de les Arts Reina Sofía, Valencia to record the work on 12th/13th September 2008, finally compressed into a 24 hour schedule to accommodate other work taking place at the time. The Palau de les Arts incorporating a superb brand-new concert hall is part of the ultra-modern complex comprising the Centre of Arts and Sciences immediately to the south of the city. The Chorus was rehearsed for the piece by Madeleine Lovell. Soloists for the work were Olga Peretyatko (Soprano): Cathy; Andrew Richards (Tenor): Heathcliff; Leigh Melrose (Baritone): Hindley; Constance Hauman (Mezzo) Nelly; Wolfgang Rauball (Baritone): Mr Earnshaw; Sarah Moule & Madeleine Lovell (Sop./Mezzo): Two Wenches; Alex Thomas (Tenor) Joseph. The Orquestra de la Comunitat Valenciana (Palau de les Arts Reina Sofía, Valencia) was conducted by the composer. The producer was Simon Weir (The Classical Recording Co. (CRC), London). The recording was of Part 1. Frédéric Chaslin is continuing composition work on the finale to the work. To hear the opera and for latest news, go to - <a href="http://bronteblog.blogspot.com/2008/12/chaslin-fishers-wuthering-heights.html" target="_blank">http://bronteblog.blogspot.com/2008/12/chaslin-fishers-wuthering-heights.html</a> This fascinating piece will be published as a CD. Watch this space.

In September the Philharmonia Chorus travelled to Valencia to participate in a world premier recording of a new opera Wuthering Heights by the distinguished French composer and conductor Frédéric Chaslin.

Lorin Maazel - Conductor Heidi Grant Murphy - Soprano Simon Keenlyside - Baritone Stefan Bevier - Chorus Master, Philharmonia Chorus Aidan Oliver - Chorus Master, Philharmonia Voices <i>"...Maazel's clarity of direction and long-sighted view of the work drew the best from a rigorously trained Philharmonia Chorus. Theirs was the might and the power to move: in the easeful breathing of the opening blessing for those who mourn, and on to the powerful shifts of tempo and pacing as they sang of withering grass and fading flowers." </i> <b>Hilary Finch, The Times, 1.7.2008</b> <i>"...Philharmonia Chorus... responded splendidly to Maazel's directions... well–deserved audience ovation."</i> <b>Agnes Kory, <a href="http://www.musicalcriticism.com/" target="_blank">www.musicalcriticism.com</a></b> <i>"Throughout the performance, the Philharmonia Chorus... sounded to be in exceptional form"</i> <b>Colin Anderson, <a href="http://www.classicalsource.com/" target="_blank">www.classicalsource.com</a></b>

<i>"...Maazel's clarity of direction and long-sighted view of the work drew the best from a rigorously trained Philharmonia Chorus. Theirs was the might and the power to move: in the easeful breathing of the opening blessing for those who mourn, and on to the powerful shifts of tempo and pacing as they sang of withering grass and fading flowers." </i> <p>Hilary Finch, The Times, 1.7.2008</p>

On 6 October 2008 the Philharmonia Chorus was delighted to announce the appointment of Edward Caswell as its new Artistic Director, in succession to Robert Dean. Edward was educated at Christ Church, Oxford and the Royal College of Music, and teaches at the Universities of Glasgow and Strathclyde. He appears regularly as a chorus master in the UK, Germany and the Netherlands, working with Norddeutscher Rundfunk Chor in Hamburg, SWR Vokalensemble in Stuttgart, Netherlands Radio Choir, and the Schleswig-Holstein Festival Chor, whom he conducted to critical acclaim in the 2007 Festival. He is a director of the Paisley Choral Festival. Edward prepared the Philharmonia Chorus for Mendelssohn's Elijah in Cardiff earlier this year, and is currently preparing the Chorus for Bernstein's Kaddish Symphony No.3 at the Barbican in October. Lesley Philpot, Chairman of the Philharmonia Chorus, said, 'Edward is one of the finest choral trainers around. We are very much looking forward to Edward taking the Chorus to the next stage of its development.' Edward said, 'I am delighted to be appointed Artistic Director of the Philharmonia Chorus. It has an illustrious history under a succession of distinguished choral directors and it is a privilege to be entrusted with the task of taking it into the future.' Edward will make his conducting debut with the Chorus in Southwark Cathedral on 1st April 2009.

On 6 October 2008 the Philharmonia Chorus was delighted to announce the appointment of Edward Caswell as its new Artistic Director, in succession to Robert Dean.

This Anniversary concert was performed in the presence of HRH The Prince of Wales, Patron of The Philharmonia Chorus and The Philharmonia Orchestra. Riccardo Muti - Conductor Olga Borodina - Mezzo-soprano Giuseppe Sabbatini - Tenor Petri Lindroos - Bass Robert Dean - Artistic Director and Chorus Master, Philharmonia Chorus Aidan Oliver - Chorus Master, Philharmonia Voices <i>“Riccardo Muti has become a rare visitor to London, but this quite exceptional performance of Verdi's Messa da Requiem, with the cathedral providing an added sense of occasion, showed what this country's musical life has been missing. Not since Carlos Kleiber's last performances here has there been conducting of such imperious intensity as Muti brought to Verdi's masterpiece. There was something memorably awesome about the swirling waves of compound sound rolling down the nave in the climaxes... “This performance belonged to Muti. His grip was total. He asked for and received every ounce of effort from his massed forces.”</i> <p>Martin Kettle, Guardian, 19.3.07</p> <i>“You want a sense of occasion for a 50th-birthday, and the Philharmonia Chorus celebrated with plenty of that sense at Westminster Cathedral... “...Verdi’s “Requiem” holds a special place in the history of the Philharmonia Chorus, not least the famous EMI recording under Carlo Maria Giulini. “...the Chorus acquitted itself in the finest of styles, with firm attack and unanimity not only in entries but also in standing and sitting. With the altar lit behind the choral singers, there could have been no better position for them and their singing, carefully moulded by Muti’s expressive gestures, and true to both work and occasion...All in all, this was an utterly splendid evening.”</i> <p>Nick Breckenfield, <a href="http://www.classicalsource.com/" target="_blank">www.classicalsource.com</a></p> <i>“Can there be a more awesome setting for Verdi’s Requiem — the most flamboyant melodrama in the canon of sacred choral masterpieces — than the great Neo-Byzantine nave of Westminster Cathedral? “The thwacks of the giant drum ricocheted round the arches like thunderclaps. The trumpets of the Dies Irae – placed high in the galleries – really did sound like a piercing summons from Heaven. True, the reverberant acoustics tended to blur the fast polyphonies of the Sanctus and Libera Me. But the same ambience magically lifted and sustained the pianissimo choral moments – at the opening, for instance – seemingly to infinity in the recesses of that vast, dark roof. “This was an auspicious night: a gala concert to mark the 50th anniversary of the Philharmonia Chorus, performed to a packed audience and the Prince of Wales... the combined ranks produced a thrilling sound.”</i> <p>Richard Morrison, Times, 19.3.07</p> <i>“Spectacular gala performance of the Requiem in Westminster Cathedral... “It was a performance that will linger in the memory... silken strings underpinned beautifully blended choral singing”</i> <p>John Allison, Sunday Telegraph</p>

<i>“Riccardo Muti has become a rare visitor to London, but this quite exceptional performance of Verdi's Messa da Requiem, with the cathedral providing an added sense of occasion, showed what this country's musical life has been missing. Not since Carlos Kleiber's last performances here has there been conducting of such imperious intensity as Muti brought to Verdi's masterpiece. There was something memorably awesome about the swirling waves of compound sound rolling down the nave in the climaxes... “This performance belonged to Muti. His grip was total. He asked for and received every ounce of effort from his massed forces.” </i> <b>Martin Kettle, Guardian, 19.3.07 </b>