Handel's Messiah overpowered by massed forces to close the Proms Choral Day

Messiah at the BBC Proms Choral Day
© BBC/Andy Paradise

Nardus Williams (soprano)

Helen Charlston (mezzo-soprano)

Benjamin Hulett (tenor)

Ashley Riches (bass-baritone)

Philharmonia Chorus

Bath Minerva Choir

The Fourth Choir

Jason Max Ferdinand Singers

London Youth Chamber Choir

Voices of the River's Edge

Gavin Carr (coordinating chorus-master)

Academy of St Martin in the Fields

John Butt (conductor)

Helen Charlston
© BBC/Andy Paradise

BBC Prom 65

7pm, Saturday 7 September 2024

Royal Albert Hall, London

★★★ 

George Frideric Handel (1685-1759): Messiah

(orch. Wolfgang Amadeus Mozart (1756-1791))

'Conductor John Butt had a massive juggernaut to control and, with the best will in the world, nuance was always going to be a challenge. The Academy of St Martin in the Fields played with precision and lyricism, but in solo arias and recitatives, they were often sadly just too loud to allow room for the soloists’ subtleties of expression'.

John Butt conducts Messiah
© BBC/Andy Paradise

'Tenor Benjamin Hulett opened with a gently sustained “Comfort Ye”, followed by a nimble “Ev’ry Valley”.... When Mozart got out of the way and left things to strings alone for “Behold, and see”, (Helen) Charlston shone.... Soprano Nardus Williams delivered pure tone in “He shall feed his flock”, again, muted strings allowing for delicate colour....Bass-baritone Ashley Riches’ penetrating tone cut through the textures well'.

'The Philharmonia Chorus formed the semi-chorus (still 120 singers), delivering confident precision in the fiddlier choruses'.

'The fully combined chorus produced a phenomenally powerful sound, and this was used to dramatic effect for “Wonderful Counsellor” in “For unto us a child is born”'.

Read my full review on Bachtrack here. 

Prom 50 - Cummings and the AAM bring the house down with Samson at the Proms

Laurence Cummings conducts the Academy of Ancient Music
© BBC/Sisi Burn

Allan Clayton (Samson)

Jacquelyn Stucker (Dalila)

Joélle Harvey (Israelite Woman)

Jess Dandy (Micah)

Brindley Sherratt (Harapha)

Jonathan Lemalu (Manoa)

Will Pate (Messenger)

Philharmonia Chorus

Academy of Ancient Music

Laurence Cummings (harpsichord/director)

7pm, Wednesday 23 August, 2023

BBC Prom 50

Royal Albert Hall, London

★★★★

Allan Clayton & the Academy of Ancient Music
© BBC/Sisi Burn

Handel, George Frideric (1685-1759): Samson (1741-2, rev. 1743)

'The Philharmonia Chorus’ performance was totally convincing'. 

'Clayton’s Samson was unflinching in rejecting Dalila’s pleas, but showed vulnerability too, never afraid to sing incredibly quietly, lamenting the “Total eclipse” of his sight with heartbreaking pianissimo control on the words “no moon”'.

'Stucker’s Dalila was bright-toned and full of self-righteousness, her “plaintive notes” more wheedling than sensuous, but beautiful nevertheless'. 

Brindley Sherratt & the Academy of Ancient Music
© BBC/Sisi Burn

Dandy:

'When Cummings kept the players back, her rich tone was allowed to shine through, with particular expression of pain in her long-held “griefs” in “Return, oh God of hosts”'.

'Brindley Sherratt was in danger of stealing the show as Harapha, his arresting presence dominating the stage as he strode on, delivering his first recit from memory'.

Jacquelyn Stucker & Joélle Harvey
© BBC/Sisi Burn

Cummings & the AAM:

' consistently energetic presence, he commanded the combined forces with enthusiasm, making for a memorably magnificent performance'.

Read my full review on Bachtrack here.

Britten - War Requiem, Op. 66

Coventy Cathedral

 Royal Festival Hall
 Sunday 25 Mar 2012 7:30pm


 Lorin Maazel

 Nancy Gustafson
 Mark Padmore
 Matthias Goerne

 Philharmonia Orchestra
 Philharmonia Chorus
 Philharmonia Voices
 Tiffin Boys Choir     

I very much enjoyed joining the Philharmonia Chorus to sing in this performance of the War Requiem, and was reminded what a spectacular piece of music it is. The final duet, the setting of Wilfred Owen's 'Strange Meeting' between two dead enemy soldiers, is spine-chilling, and as a consequence the 'In paradisum' that follows is so unsettling and disturbing - no reassurance of heavenly peace here. In terms of the performance, here are the reviews. The Evening Standard (Barry Millington)  ««« The Arts Desk (Alexandra Coghlan) Classical Source (Mark Valencia)   Bach Track (David Fay) ««««« Music OMH (Melanie Eskanazi)  «««« The Guardian (Martin Kettle) «««« The Times (Geoff Brown) ««« (You'll need a subscription to view the Times review.  He mentioned 'a heart beating in the warm blend of the Philharmonia Choir (sic), the Philharmonia Voices and the pristine piping of the Tiffin Boy's Choir', and talked of the 'anguish in Mark Padmore's tenor'). Flamescourer's blog