Patron: HRH The Prince of Wales
Chorus Master: Gavin Carr
Accompanist: Timothy End
Arts Council England

Reviews

220630-Santtu-Matias-Rouvali-conducting-the-Philharmonia_credit-Mark-Allan-640x400 copy.png

Mahler - Symphony No.2 'Resurrection'
Philharmonia Orchestra conducted by Santtu-Mathias Rouvali
Royal Festival Hall, London

'The chorus was marvellous, the pianissimo words crystal-clear, the German 'schhhh' sounds like puffs of air elevating Mahler's huge structure away from the gravity of the here and now to another realm.'
Peter Reed - www.colinscolumn.com, 9 June 2022

'This was a hugely impressive performance that seemed to shake the very foundations of the Royal Festival Hall...(the choir's) impeccable intonation and scrupulous attention to dynamics made it as impressive as it could be - it was as if time stood still. The Philharmonia Chorus's contribution was outstanding - thanks to chorus master's Gavin Carr's expert tutelage'
Keith McDonnell, www.musicomh.com, 13 June 2022

War Requiem picture for website.png

Britten - War Requiem
Royal Philharmonic Orchestra conducted by Vasily Petrenko
Royal Albert Hall, London

'The performance was clearly prepared by conductor Vasily Petrenko and the performers with a care and love that aren't always evident in London's crowded orchestral scene. The Philharmonia Chorus were unfailingly eloquent, whether in the agonised, lost-sounding plea of the Quid sum miser or the tender Lacrimosa, where the choral chant was intertwined with soprano Lyubov Petrova's plaintive descents.'
Ivan Hewitt - The Telegraph, 27 May 2022

A20 - Elgar by May Grafton.jpg

Elgar - The Dream of Gerontius
Royal Philharmonic Orchestra conducted by Vasily Petrenko
Royal Albert Hall, London

'The Philharmonia Chorus, ranged across the top of the platform, was superb in diction, sonority, accuracy and engagement. Their soft singing had a tangible presence despite their great distance from most of the audience. They made an infernal bunch of demons, encouraged by their impish Lord of Misrule, Petrenko. The conductor paced his tension-filled approach to "Praise to the Holiest in the height" so that it burst forth in splendour, and then cued every subsequent choral entry with a stab to the relevant section, each one in the coda growing ever more fervent. Such rousing singing, playing, and conducting, not least from the mighty RAH organ (Richard Pearce in the loft) led to one of those "we don't know if we should clap here but some of us really want to" from some audience members.'
Roy Westbrook, www.bachtrack.com, 8 April 2022