Reviews

Hildegard of Bingen - O vis aeternitatis
Mahler - Symphony No.2 'Resurrection' - Philharmonia Orchestra conducted by Kent Nagano

...the Philharmonia Chorus sang with superb control.
Rebecca Franks, The Times, 20 March 2026

....with Hildegard von Bingen's spare and sinuous O vis aeternitas sung by a semi-chorus processing slowly through the auditorium, their voices wreathing the hall like a trail of incense.
The mighty Philharmonia Chorus have made the big, middle-European romantic sound their own and their exhortation to "Rise again" as the final movement got underway revealed a whole new dimension in sound.
Eleanor Knight, Bachtrack, 21 March 2026

But it was Nagano that choreographed the great choral climax so perfectly, the Philharmonia Chorus beautifully soft on entry, the male voices later creating an imposing wall of sound, Nagano extending the silent pause after 'Bereite dich' daringly, as if himself asking, 'Prepare yourself for what?'. 'To live,' came the answer, and how beautifully Archibald crowned the chorus. The Philharmonia Chorus could only be described as fearsomely present in the work's final stretch; and yet the brass crowned it all, perfectly. Good to hear the RFH organ at full tilt, too.
Colin Clarke, Classical Explorer, 22 March 2026

Ravel - Daphnis et Chloé - Philharmonia Orchestra conducted by Esa-Pekka Salonen

The chorus were magnificent in setting up the evocation of dawn.
David Karlin, Bachtrack, 26 February 2026

...the drama as well as the yearning erotic heat of the music came across with fabulous, ear-drenching magnificence.
Ivan Hewett, The Telegraph, 26 February 2026

The hushed opening of Act I was magical, with harps, muted horn, and flute emerging over barely audible strings. Luxuriant crescendos, including the incisive entries of the chorus, were overwhelming. The swelling Danse religieuse was orgiastic in its abandon and there was a modern, almost jazzy swing to the youths and maidens' Danse Générale. Along the way, Salonen was an eloquent advocate for the linking sections you don't get to hear when, as is usually the case, the ballet is given incomplete. In Act III, Salonen conjured a Mediterranean warmth and an ideal balance with the chorus for the famous Lever du jour (Sunrise). A lovely flute solo for the pantomime of Pan and Syrinx followed, before players and singers rose together with an ecstatic shout of joy in the concluding Bacchanale. A truly memorable performance.
Clive Paget, Musical America, 27 February 2026

The memorable moments were played by Samuel Coles (flute) and Rebecca Kozam (cor anglais); and not forgetting the Philharmonia Chorus who were 'ethereal-erotic' throughout: luminous and voluptuous. However, the concluding Danse générale was just loud and brash which nevertheless was guaranteed to bring the (packed) house down: and it did with an ecstatic aplomb!
Alexander Verney-Elliott, Seen and Heard International, 27 February 2026