Debussy - Nocturnes
Royal Philharmonic Orchestra conducted by Vasily Petrenko
Royal Albert Hall, London

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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

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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

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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

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The Philharmonia Chorus sang with admirable focus.
Tim Ashley, The Guardian, 9 November 2023

Verdi - Messa da Requiem
Philharmonia Orchestra conducted by Santtu-Matias Rouvali
Royal Festival Hall, London

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...but even more impressive was the Philharmonia Chorus. Sometimes a British performance of this piece leaves me longing for an Italian chorus, but not here. They were simply superb, whether in the cries of terror of the Dies Irae, or the consoling Agnus Dei.
Ivan Hewett, The Telegraph, 22 September 2023

The Philharmonia Chorus were weighty in the Confutatis, and the enormity of their entry in the Libera Me was monumental.
Marc Bridle, Opera Today

Handel - Samson
Academy of Ancient Music conducted by Laurence Cummings
Royal Albert Hall, London

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This spellbinding rendition of Handel's great oratorio came to the Proms as a heartwarming and uplifting blaze of glory. Vital to the success of the evening was the Philharmonia Chorus, who were on absolutely thrilling form.
Ivan Hewett, The Telegraph, 24 August 2023

Allan Clayton's rich tenor defied the tricksy acoustics of the great hall, while the Philharmonia Chorus were truly outstanding. .....the Israelites' prayer in Act 2, its chewy harmonies sung with relish as part of an outstanding performance by the Philharmonia Chorus.
Erica Jeal, The Guardian, 24 August 2023

There's much to be said for performing Handel oratorios with a chorus several times bigger than expected. The Philharmonia Chorus numbered more than 100, and what a difference their weight and attack made. Using this chorus was a bold decision by the conductor Laurence Cummings and the Academy of Ancient Music. But it paid off in a work that depends so much on choral battles between the Philistines and Israelites.
Richard Morrison, The Times, 24 August 2023

The Academy of Ancient Music under Laurence Cummings for Handel's Samson so far, so promising. But full symphony chorus and the cavernous Royal Albert Hall? It shouldn't have worked, but the Philharmonia Chorus' performance was totally convincing. Delivering a majestic sound in big numbers like "Then round about the starry throne" and "Let their celestial concerts all unite", their touch was also light when required. Cummings' energetic attention helped, almost stabbing out their "Samson" entries in "Weep Israel", holding them to a dramatic pause after "strength" before they declare the hero slain.
Nick Boston, Bachtrack, 24 August 2023

A phenomenal evening which despite the odd hiccup attained a level of musical excellence available to very few performances, anywhere. These forces would surely provide a recording of great note.
Colin Clarke, Seen and Heard International, 25 August 2023

From the opening notes of the first chorus, the fast and brilliant 'Awake the trumpet's lofty sound', the Philharmonia Chorus impressed. They made Act One end on a positive note with a strong account of the finale chorus, whilst Act Two ended in a more complex manner as the chorus' vividly urgent 'To song and Dance we give the day' gave way to the great double chorus hymning both Dagon and Jehovah. This was grand indeed, but Cummings also brought out the underlying dance-rhythm of the music. In Act Three, 'With thunder arm'd' was bravura indeed, with the chorus seemingly following Cummings' fast pace with ease.
Robert Hugill, Planet Hugill, 25 August 2023

The Philharmonia Chorus, under chorus master Gavin Carr, was on wondrous form, whether capturing the solemn gravity of the Israelites' proclamations, or the carefree, hedonistic feel of many of the Philistine choruses.
Sam Smith, Music OMH, 27 August 2023