Reviews
Rachmaninov - The Bells - Royal Philharmonic Orchestra conducted by Vasily Petrenko - Harmonia Mundi recording
Recording engineers Tom Lewington and Mike Hatch ensure the choir has tremendous presence, and kudos too to Gavin Carr's work as Chorus Master diction, balance, color, and tuning are exemplary. In the opening movement, we are immediately drawn in by light sparkle (mimicking sleigh bells) of the playing, and the dramatic weight of the choir's first entrance (1'48"). The reading build to a climax of refulgent colours (4'55"). Mirjam Mesak's solo in the second movement is lovely, and both she and Petrenko (who adopts a quick tempo only Rattle in Berlin/Warner Classics is faster) keep the music from becoming maudlin. Yet the performance never feels rushed, so that Rachmaninoff's luscious harmonies really depict the languid glow of love and marriage.
When I saw a timing of 8'30" for "The Loud Alarm Bells," I expected to be disappointed. Other excellent performances of this movement (Kondrashin and Rattle) are significantly faster. But Petrenko builds tension masterfully, making the percussion-laden climax (7'30") terrifying. The full-throated singing of the Philharmonia Chorus is thrillingly incisive. The final movement is again on the faster side, less dirge than anguished lament, a feeling heightened by Andril Kymach's impassioned solo. Once again, choir and orchestra build great waves of sound that make the text's grief and sorrow palpable, the gorgeous string playing in the Coda is the first signal of sadness turning to resignation and acceptance.
David A McConnell - The Classic Review, 24 November 2025
Petrenko is in his element here - and so too is the Philharmonia Chorus, particularly electrifying when unleashed at full tilt in the 'Alarm Bells' movement.
Rebecca Franks, BBC Music Magazine, December 2025
The Bells adds a 100-strong Philharmonia Chorus on peak form, coached into heavy-duty Russianness. It is Petrenko's 'loud alarum bells' that will test the resilience of your speakers. Embracing wider fluctuations of tempo and expression than Kirill Kondrashin's Melodiya classic of 1963, the dynamic onslaught is shattering.
David Gutman, The Gramophone, December 2025
Bernstein - Chichester Psalms - Royal Philharmonic Orchestra conducted by Vasily Petrenko
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
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
....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
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
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