Today we are launching our first series of Stimmbildung workshops - classical German voice training, to be given by Chorus Master Stefan Bevier on Wednesday and Thursday evenings in April in central London.
Each workshop will last 30 minutes for up to 6 singers of the same voice type (soprano, alto, tenor, bass). These Stimmbildung workshops are open to all singers, whether or not they are members of the Chorus. This is an important opportunity to experience the German approach to voice training, not readily available in the UK.
If you would like to take part or learn more about it, please e-mail the administrator of the workshops, <a href="mailto:Brenda Johnson@philharmoniachorus.co.uk?subject=Open Rehearsal on 4 June">Brenda Smith Johnson</a>
Verdi's Messa de Requiem was performed in the Sheldonian Theatre, Oxford on Sunday 15 March with soloists Sumi Hwang (soprano), Fredrika Brillembourg (mezzo-soprano), César Guttiérez (tenor), and Carlo Malinverno (bass), the Philharmonia Chorus and the Oxford Philomusica conducted by Marios Papadopoulos.
The Chorus was privileged to take part in this concert dedicated to the memory of Sir Ronald Grierson, who died in October. Sir Ronald was strong supporter of the arts, and was at one time Chairman of the South Bank.
The Philharmonia Chorus took part in a Christmas concert at the Royal Albert Hall on Wednesday 17th December with the Philharmonia Orchestra and the Choir of King's College, Cambridge. under the baton of Stephen Cleobury.
The Chorus performed Verdi's Te Deum, a chorus from Mendelssohn's Christus, excerpts from Berlioz' L'enfance du Christ, and of course some festive carols.
The first Philharmonia Chorus Masterclass took place on 6 December at the Bridewell Hall,St Bride Foundation, with soprano Chen Reiss. One reaction on Twitter - 'Absolutely great masterclass with ChenReiss and the Philharmonia Chorus. Haven't seen something so interesting in a long time.' .
Chen Reiss is one of the world's most accomplished sopranos. She has performed leading parts at the Vienna State Opera, Bavarian State Opera, Théâtre des Champs-Elysées, Teatro alla Scala, Semperoper Dresden, Deutsche Oper Berlin, Hamburg State Opera, Maggio Musicale Fiorentino, Opera Company of Philadelphia and the Israeli Opera. On the concert platform she has appeared with many distinguished conductors, and she is also an active lieder singer. Her solo album, Liaisons, won the Diapason d'Or in 2011, and her most recent album Le Rossignol et la Rose with pianist Charles Spencer, has been released by ONYX Classics.
This Masterclass was devoted to the music of Bach. Five singers drawn from the Philharmonia Chorus - sopranos Fleur de Bray, Iria Perestrelo, and Sophie Atalar, mezzo-soprano Sarah Denbee, tenor William Morgan and baritone Felix Kemp - participated.
The new recording of Symphony No.2 'Resurrection' by Gustav Mahler with soprano Miah Persson, mezzo-soprano Sarah Connolly, the Philharmonia Chorus and the Philharmonia Orchestra conducted by Benjamin Zander has been in the nominations for this year's Grammy Awards. The nomination - Mahler: Symphony No. 2 'Resurrection' (Benjamin Zander, Stefan Bevier, Philharmonia Chorus & Orchestra) - is in the portfolio of Elaine Martone in the category of Best Producer of the Year
The recording was regarded as the 'one to take away' in a comparison of recent releases of the symphony on BBC Radio 3's CD Review in March earlier this year. The recording is available from Linn Records.
The Philharmonia Chorus was prepared by chorus master Stefan Bevier, and the recording was made in Watford Colosseum under the supervision of recording engineer Robert Friedrich and his team.
The Philharmonia Chorus took part in a performance of Bruckner's Te Deum in the beautiful Sheldonian Theatre in Oxford at 8pm last Saturday 29 November with soprano HyeYoun Lee, mezzo-soprano Katharine Goelder, tenor Thomas Hobbs and bass Darren Jeffrey, with the Oxford Philomusica conducted by Marios Papadopoulos.
For Anton Bruckner, the Te Deum was 'the pride of his life', and it is undoubtedly his greatest sacred choral work. It is both joyful and compelling, propelled forward by the furious central section' Aeterna Fac'.