Concerts & Recordings
The Rest is History: Mozart and Beethoven with live orchestra
Tom Holland
Dominic Sandbrook
Philharmonia Chorus
Chorus Master - Gavin Carr
The Academy of St Martin in the Fields
conducted by Oliver Zeffman
Royal Albert Hall, London
Beethoven - Symphony No.9 'Choral'
Paula Sides - soprano
Idunnu Münch - mezzo-soprano
Oliver Johnston - tenor
Michael Mofidian - bass-baritone
Philharmonia Chorus
Chorus Master - Gavin Carr
Philharmonia Orchestra
conducted by Robert Ziegler
Royal Festival Hall, London
MCC Evening of Carols
Philharmonia Chorus
Timothy End - organ
conducted by Gavin Carr
Private Event
The Long Room, Lord's Cricket Ground
Handel - Messiah
Soloists - TBC
Philharmonia Chorus
Chorus Master - Gavin Carr
Philharmonia Orchestra
conductor TBC
Royal Festival Hall, London
Christmas Classics
Philharmonia Chorus
Chorus Master - Gavin Carr
London Philharmonic Orchestra
conducted by Michael England
Royal Festival Hall, London
Schoenberg - A Survivor from Warsaw
Shostakovich - Symphony No.13 'Babi Yar'
Mikhail Petrenko - bass
Lambert Wilson - narrator
Philharmonia Chorus
Chorus Master - Gavin Carr
Orchestre National de Lille
conducted by Joshua Weilerstein
Auditorium du Nouveau Siècle, Lille
Schoenberg - A Survivor from Warsaw
Shostakovich - Symphony No.13 'Babi Yar'
Mikhail Petrenko - bass
Lambert Wilson - narrator
Philharmonia Chorus
Chorus Master - Gavin Carr
Orchestre National de Lille
conducted by Joshua Weilerstein
Philharmonie de Paris, Paris
Bernstein - Chichester Psalms
Philharmonia Chorus
Chorus Master - Gavin Carr
Philharmonia Orchestra
conducted by Marin Alsop
Royal Festival Hall, London
Gladiator Live
Lisa Gerrard - mezzo-soprano
Philharmonia Chorus
Chorus Master - Gavin Carr
Royal Philharmonic Concert Orchestra
conducted by Justin Freer
Royal Albert Hall, London
Gladiator Live
Lisa Gerrard - mezzo-soprano
Philharmonia Chorus
Chorus Master - Gavin Carr
Royal Philharmonic Concert Orchestra
conducted by Justin Freer
Royal Albert Hall, London
Recent Reviews
Mahler - Symphony No.2 'Resurrection'
Philharmonia Orchestra conducted by Nefeli Chadouli
Bold Tendencies, Peckham
'The choir, here 100 strong, standing behind the audience, their sound floating up invisibly, sings "Aufersteh'n (arise) with soft, utmost serenity. The whole performance could not have been more intense.'
Fiona Maddocks, The Observer, 21 September 2024
Handel - Messiah
Academy of St Martin in the Fields conducted by John Butt
Royal Albert Hall, London
Prom 65 - Choral Day review
The Philharmonia Chorus were the main participants, reliable in fugal complexities and fast runs.
David Nice, The Arts Desk, 8 September 2024
Debussy - Nocturnes
Royal Philharmonic Orchestra conducted by Vasily Petrenko
Royal Albert Hall, London
Prom 17, Kozhukhin, RPO, Petrenko review - four tripartite masterpieces
The upper voices of the Philharmonia Chorus may have been a bit too close to the orchestra physically, but they wrought their own colour changes like professional singers: a beautiful complement to the super-subtle orchestra.
David Nice, The Arts Desk, 2 August 2024
The upper voices of the Philharmonia Chorus were fresh and precise in the movement's changing harmonies and rhythms and the orchestra offered skeins of sound in accompaniment. Many of the promenaders seemed mesmerised by the Choir's singing and the piece worked its magic in the hall.
Brian Barford,
Classical Source, 1 August 2024
Rachmaninov - The Bells
Royal Philharmonic Orchestra conducted by Vasily Petrenko
Royal Festival Hall, London
Poetic cello, blazing chorus - Atmospheric Elgar and Weinberg, but Rachmaninov's 'The Bells' takes the palm
Purple patches flourished in the first half of this admirable programme: it could hardly have been otherwise given Sheku Kanneh-Mason's devotion to a new work in his repertoire, and the current strength of the Royal Philharmonic Orchestra under Vasily Petrenko. Even so, it was the culmination, Rachmaninov's multifaceted "Choral Symphony" The Bells, which truly dazzled.
It seems so obvious: Petrenko just knows this idiom and is completely at ease with the difficult Rachmaninov rubato. The Philharmonia Chorus was simply electrifying: hard to believe they weren't professionals with a knockout sound like that.
This, rather than the too church-choiry Tenebrae, is what Pappano needed for his Ravel Daphnis et Chloé, repeated last night over at the Barbican at around the same time. The two masterpieces are only a year apart, and Rachmaninov proves master orchestrator too in the glitttering spirit of delight that frames his opening sleigh-ride. What a punch from the opening choral response to the tenor's "listen!", though, and what overwhelming climaxes throughout.
It takes real power and expression to hold focus in the "Loud Alarm Bells" movement; in Konstantin Balmont's translation of Edgar Allan Poe, when the voices become the flames in "I want to go higher, to burn higher, to touch the moonbeams", the effect was one of terrifying levitation. Special kudos to Chorus Master Gavin Carr.
David Nice, The Arts Desk, 12 April 2024
Rachmaninov's take on The Bells hits the spot
When a big choral symphony is called The Bells, a basic requirement, you might think, would be to hear some bells. There were three handsome specimens, small but sturdy, parked at the end of the percussion line on the Royal Philharmonic Orchestra's back row. Reader, I could hear none of them.
Disappointment? Well, a smidgen. But so much else in Rachmaninov's spectacular take on Edgar Allan Poe's poem, the crowning glory of Vasily Petrenko's latest concert in the RPO's Icons Rediscovered strand, hit the spot unimpeded. Top of the list was the mighty force of the 80-strong Philharmonia Chorus, splendidly nurtured by its chorus master Gavin Carr, and especially thrilling in the alarm bell section. Not far below came the stentorian wonder of the baritone Andrii Kymach, your perfect companion for the gloomy bells of the final movement, fittingly marked "lento lugubre".
Geoff Brown, The Times, 12 April 2024
Sheku Kanneh-Mason and the Philharmonia Chorus shine in Weinberg and Rachmaninov
Rachmaninov's cantata 'The Bells' after the interval was an unqualified triumph. Petrenko was on home ground here, and he inspired a coruscating performance from the Royal Philharmonic Orchestra, doing full justice to Rachmaninov's brilliance as an orchestrator and his instinctive sense of drama. The soloists too were superb: the sweet-toned tenor Pavel Petrov found it hard to project his voice over the hubbub in parts of the first movement, but in the second the soprano Mirjam Mesak's clear, bell-like voice was a joy to hear, opening out thrillingly at the movement's climax. The fine baritone Andrii Kymach brought appropriately cavernous gloom to the final movement: he had me hoping that Petrenko might engage him for Shostakovich's Babi Yar.
The real heroes of the evening, though, were the Philharmonia Chorus. Not especially large around 100 singers they blew us away with their first entry: precision, attack, and enough volume for
'Gurrelieder'. The quieter moments they're humming over harp, piano and celeste later in the first movement were magical too. They were fabulous: the combined power of chorus and orchestra at the climaxes was shattering.
Chris Kettle,
Seen and Heard International, 14 April 2024
Shore - The Lord of the Rings: The Return of the King in Concert
Royal Philharmonic Concert Orchestra conducted by Ludwig Wicki
Royal Albert Hall, London
Conducted by Ludwig Wicki, the Royal Philharmonic Concert Orchestra's playing is very much a credit to Shore's masterwork. The violins are powerfully used to pull at the heartstrings, the brass section gets the pulses pumping when the fighting starts and, when the Philharmonia Chorus join in, there is a phenomenal wall of sound which pushes us back into our seats.
Franco Milazzo, www.broadwayworld.com, 18 March 2024
The stunning Philharmonia Chorus and Trinity Boy's Choir give depth and emotion to the beautiful choral moments
Lucy Boardman,
https://ayoungishperspective.co.uk, 17 March 2024
Tchaikovsky - Iolanta
Royal Philharmonic Orchestra conducted by Vasily Petrenko
Royal Albert Hall, London
The Philharmonia Chorus sang with admirable focus.
Tim Ashley, The Guardian, 9 November 2023