Reviews
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
Verdi - Messa da Requiem
Philharmonia Orchestra conducted by Riccardo Muti
Royal Festival Hall, London
Every time the screaming descent of the Dies irae recurred, with the percussionist thwacking two mighty drums at once, the thrilling attack of the Philharmonia Chorus hit you between the eyes. And the choristers were just as effective, in a very different way, in the Requiem's hushed opening and the whispered chants at the end, which were sepulchral and chilling.
Richard Morrison, The Times, 28 March 2025
The orchestra and chorus were on great form, not just in the tremendous Dies Irae where the percussionist thwacked two bass drums simultaneously, with a sound that was like the earth cracking but in the quieter moments. The oboe's pathetic outcries in the Ingemisco ("I groan") section were heart-rending, and the chorus were equally strong in the dancing Sanctus the one moment of joy and optimism and in the massive Libera Me that ends the work.
Ivan Hewett, Telegraph, 28 March 2025
The Chorus in particular, and director Gavin Carr, had a night to savour: glittering in razor-edged entries; earth-moving in the savage eruptions of the Dies irae but (in contrast) airborne, angelic and even playful in the Sanctus. From the boom of the Rex tremendae to the hush of the Agnus dei, they commanded each rung on the Verdian ladder of sound and sense that stretches from earth to heaven then down to the brink of the inferno.
Boyd Tonkin, The Arts Desk, 28 March 2025
The Philharmonia Chorus were on top form: crisp diction, precise and agile at top and bottom, deeply responsive to the podium.
Dominic Lowe, Bachtrack, 28 March 2025
The chorus were first class, from the hushed unaccompanied opening 'Requiem aeternam' to the hurled out 'Dies irae'. Muti had clearly been working on them to clearly pronounce certain important words such as 'calamitatis'. I admired, in particular, the intonation of the sopranos on their high notes and the mellow weight of the alto section. The men came strongly to the fore in an overwhelming 'Tuba mirum' and shook away the cobwebs with a forceful 'Rex tremendae', though having them stand right on their first note did not make their job easy.
John Rhodes, Seen and Heard International, 28 March 2025
The opening 'Introit and Kyrie' was taken slowly, but what was so beautiful about it was the extreme dynamic shading of it: at times the Philharmonia were almost inaudible, the choir breathtaking as if floating above the line. The Dies Irae arrived with shocking power - Muti's downbeat as powerful and fast as I ever heard it done in concert, the first 'd' on the 'Dies' from the chorus hammered down like one vast nail. The choral singing was absolutely first rate: a superlative 'Tuba Mirum', gorgeous altos throughout, and a memorable 'Rex tremendae'.
Marc Bridle, opertoday.com, 31 March 2025
Schoenberg - A Survivor from Warsaw
Shostakovich - Symphony No.13 'Babi Yar'
Orchestre National de Lille conducted by Joshua Weilerstein
Auditorium du Nouveau Siècle, Lille
Philharmonie de Paris
L'autre grande réussite de ce concert est celle des voix. Que ce soit la performance de la basse Dmitry Belosselskiy, au chant profond et impressionnant. Ou encore l'excellence de la formation britannique du Philharmonia Chorus. La parole est ici essentielle, fièrement portée par un soliste et des chœurs en osmose. Un impressionnant moment d'orchestre et de chant.
The other great achievement of this concert is the vocals. Whether it's the performance of bass Dmitry Belosselskiy, with his deep and impressive singing, or the excellence of the British Philharmonia Chorus. The spoken word is essential here, proudly carried by a soloist and choirs in perfect harmony. An impressive moment of orchestral and vocal performance.
Jean-Marc Petit, resmusica.com, 17 March 2025
Joshua Weilerstein, l'Orchestre National de Lille et le Philharmonia Chorus donnent tout et font corps avec la musique écrasante et dévastatrice qui dénonce avec flamme et courage la haine de juifs, de l'humiliation de Dreyfus à la terreur des pogroms et de la barbarie nazie.
Joshua Weilerstein, the Orchestre National de Lille and the Philharmonia Chorus give their all and become one with the overwhelming and devastating music that denounces with passion and courage the hatred of Jews, from the humiliation of Dreyfus to the terror of the pogroms and Nazi barbarity.
Hannah Starman, cult.news, 17 March 2025
Le flux vocal, source de toutes les dénonciations, exhortations, compassion, est superbement tenu par le narrateur chanteur ukrainien Dmitry Belosselskiy. Basse ample et caverneuse, souvent en dialogue ou associée au chœur d'hommes (impeccable Philharmonia Chorus préparé par son chef, Gavin Carr), le soliste réalise une trajectoire à la fois sobre, expressive, pleine de noblesse, exhortant à la fraternité. Le programme est repris ce soir à La Philharmonie de Paris : incontournable.
The vocal flow, the source of all the denunciations, exhortations, and compassion, is superbly conveyed by the Ukrainian singer-narrator Dmitry Belosselskiy. A full and cavernous bass, often in dialogue or associated with the male choir (the impeccable Philharmonia Chorus prepared by its chorus master, Gavin Carr), the soloist achieves a trajectory that is at once sober, expressive, and full of nobility, urging brotherhood. The program is repeated this evening at the Philharmonie de Paris: unmissable.
Alexandre Pham, classique news.com, 17 March 2025
Le Philharmonia Chorus renouvelle la prestation admirable entendue chez Schönberg : plénitude et puissance du chant, qualité intrinsèque des pupitres au sein d'un bloc d'une grande unité, couleurs et nuances.
The Philharmonia Chorus renews the admirable performance heard in Schönberg: fullness and power of the singing, intrinsic quality of the sections within a block of great unity, colors and nuances.
Rémy Louis, diapasonmag.fr, 19 March 2025
Quand le Philharmonia Chorus entame le poème juif, les cuivres bouillonnent encore mais les voix les dominent bientôt avec ferveur. La qualité du chœur d'hommes fera également partie de la réussite de la Symphonie n° 13 de Chostakovitch ensuite. Apparaissant toujours équilibré avec une sonorité ronde et une diction précise, il se tuile aisément avec les pupitres de bassons, de contrebasses et de cuivres graves.
When the Philharmonia Chorus begins the Jewish poem, the brass is still seething, but the voices soon dominate with fervor. The quality of the male choir would also be part of the success of Shostakovich's Symphony No. 13. Always balanced, with a rounded sound and precise diction, it easily meshes with the bassoon, double bass, and low brass sections.
Chloë Rouge, bachtrack.com, 18 March 2025