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In The Press

Beethoven Symphony no 9 (Choral)

9th May 2015

Leeds Town Hall


Choruses are a credit to city

John Sutcliffe, Leeds


May I, through the pages of the YEP, express my thanks and appreciation to both the Leeds Philharmonic Chorus and the Leeds Festival Chorus for their outstanding performance at the Leeds Town Hall last Saturday night.

Along with the Warsaw Philharmonic Orchestra their performance at the Beethoven symphony no 9 (Choral) was out of this world, it richly deserved the prolonged applause it received.

Well done, a credit to the city.

Letter to YEP, 15/5/15


John Sutcliffe Letters to Yorkshire Evening Press

Leeds Philharmonic Chorus
BBC Philharmonic
Leeds Town Hall

14th March 2015

Conductor: David Hill
Soprano: Sarah Tynan
Tenor:   Daniel Norman
Baritone: William Dazeley

Carl Orff, the composer of Carmina Burana, the centre piece of this concert, spent much of his working life teaching children. Fitting then, that this was a concert perfect for a young person’s first taste of orchestral and choral live music. What could be more accessible than Dukas Sorcerer’s Apprentice (made famous in the Walt Disney film Fantasia) and Benjamin Britten’s ‘The Young Person’s Guide to the Orchestra’ that make up the first half. Music that is illustrative, colourful and immediately attractive.

Though the Dukas seems a little pedestrian and heavy-handed, the orchestra comes alive in the Britten; a piece that is intended to give each section and each instrument the chance to flourish, and they do just that, with some particularly lovely woodwind playing.

‘O Fortuna!’ opens the Carmina Burana, and the huge impact of choir and orchestra at full throttle has its intended impressive ‘call to attention’. As the piece progresses we negotiate its unusual musical palette; highly rhythmic, but harmonically unsophisticated – with folk-song-like drones – it paints the musical pictures with pleasing and catchy phrases based on ostinato repetitions.

We hear modernity in the influence of early Stravinsky (throwing aside classical ideas of musical development), alongside throwbacks of German romanticism; the Ländler comes to mind in its clog tapping rusticity and German singspiel in its bucolic passions and pastoral love – certainly this very accessible choral piece has proven to be popular with audiences all over the world.

David Hill negotiates the constantly evolving metre of this score with ease and mastery. The choir is beautifully prepared again by chorus master Richard Wilberforce. Great care is given to the clear annunciation of the Latin and Middle High German text to bring energy to the words as they take on their inherent percussive quality, though in some exposed moments one becomes aware of individual voices carrying the responsibility, and, otherwise wonderfully precise, there is a section where choir and baton goes slightly adrift.

It is tenor Daniel Norman who sets the tone when he almost dances his first aria (‘the roasted swan sings’). It also opens up the peculiarly irreverent nature of the whole piece, and allows the humour and eccentricity to emerge, though there is also a beauty, especially in the pure sounds of soprano Sarah Tynan who soars with ease and allure as she beckons her doting men. William Dazeley has a large and warm baritone sound which becomes more and more extravagant as the narrative progresses to the tavern and the desire for love.

The Leeds Cathedral Choir – made up of some eighty young people – make a lovely fresh yet sustained sound that does them credit. However, it could be said, that the naiveté of the concert seems a little darkened by the imbibing antics of this piece, where we sense there has been a disconcerting loss of innocence that belies the joyful end.

David Gann

Handel’s Messiah
LeedsTown Hall
13th December 2014

Leeds Philharmonic Chorus

The Leeds Philharmonic Chorus performance of Messiah is delightfully refreshing. Also performing is the small baroque orchestra Florilegium (with original instruments), which is beautifully shaped with finesse and elegance, taking hold of the drama of the piece, making it count for the big moments.

The Leeds Philharmonic Chorus was on superb form. Boasting a new chorus master, there is a new verve and sprightliness. Voices are incisive, full-toned and yet not overly sung. So lovely is the sound, that the full tone was occasionally withdrawn in favour of delicacy of expression, or eloquence of articulation and emphasis; the fugal counterpoint answering each other in bright conversation or celebration, and the hushed moments of polyphony dramatic and sensitive.

The solo singing was particularly beautiful from the tenor Ed Lyon, who combines beauty of tone with a powerful command of the drama. He seems to connect with musico-dramatic intentions in a way that eludes bass-baritone David Stout. The Mezzo-soprano Madeleine Shaw brings a sense of control with a pure and elegant sound that was an utter delight.

Soprano Elinor Rolfe Johnson, a last minute replacement, was young in sound and sense of command. With a rather nervous start, she was not quite at ease with the coloratura of ‘Rejoice Greatly’ at this particular performance. Yet as the evening went on it became evident that there is a beautiful, if at the moment quite vulnerable, sound emerging. ‘I Know That My Redeemer Liveth’ was particularly pleasing.

The orchestra was well drilled and expressive under the sure baton of David Hill who is at his best in this choral tradition (even if he wasn’t entirely sure where the interval was meant to be!) Catching the drive and shape of the piece as a whole, he brings a powerful sense not only of sublime individual items, but the magnificent declaration of faith that is as fresh today as when it was first written.

As if in agreement with this, the audience maintained the tradition of standing at the Hallelujah chorus as the original trumpets and a full throated chorus exuberantly sang out the universal song of highest praise.

David Gann

Britten – War Requiem

14th Nov 2014, St Anne’s Cathedral, Belfast

It is perhaps three decades since Britten’s War Requiem was last heard in Belfast.

 Last night  a sold out performance in St Anne’s Cathedral brought together the Ulster Orchestra with the RTE Concert Orchestra, the Belfast Philharmonic with the Leeds Philharmonic and the girl choristers of St Anne’s.

Jac van Steen masterfully conducted this massed musical array, joined by three fine soloists, Elizabeth Atherton (soprano), Benjamin Hulett (tenor) and Gavan Ring (baritone).  The sandstone walls reverberated with the stark impact of Britten’s uncompromising music, his settings of Wilfred Owen’s poetry juxtaposing the comforting religious mythologies of the Latin Mass with the descriptive horror of military realities.

From the evocative ethereal sounds of the choir, the doom laden tolling of the bells, the weaponry of the percussion, the committed singing of the choirs, the powerful interjections of the soloists, accompanied throughout by the imaginative colourings of the orchestras and the ever present devil’s tritone, there was a pervasive feeling of rapt attention from the audience.

To experience a work of this magnitude is incomparable.

RATHCOL Belfast Telegraph

Brahms Requiem & Academic Festival Overture

Leeds Philharmonic Chorus
Orchestra of Opera North
Leeds Festival Chorus

Leeds Town Hall, 24 May 2014

Brahms’ boisterous Academic Festival Overture is usually heard minus its choral embellishments, but that would have been a waste of the Leeds Festival and Leeds Philharmonic Choruses already seated in the risers above the orchestra. Much more than merely a warm-up for Brahms’ German Requiem in the second half, the choirs sang with lusty full-throated vigour the undergraduate drinking songs which form the imposing coda of the overture.

From 200-plus voices to just one: Grammy Award winning Welsh soprano Rebecca Evans, appropriately wearing a sparkling full-length autumnal gold dress, came on stage to sing the Four Last Songs of Richard Strauss. Composed just a year before Strauss’s death in 1949, this reflective autumnal music is suffused with an other-worldly calm. Evans spun a seamlessly beautiful vocal line, occasionally glancing at the score on the stand in front of her, but otherwise completely inhabiting these lovely songs. Her soaring vocal modulations in Beim Schlafengehen (Going to Sleep) preceded by David Greed’s rapturous violin solo, culminated in a heavenly top B. The lush string tone, burnished horns and silken woodwind of the Orchestra of Opera North, sensitively conducted by Simon Wright, created a ravishing backdrop. In Im Abendrot (At Sunset) Strauss’s evocation of skylarks was beautifully etched by the piccolos as if against a rose-tinted sky.

Twenty five years separate the irreverent humour of Brahms’ Academic Festival Overture from his remarkable “humanist” Requiem. Simon Wright’s expansive opening allowed the richness of the orchestral scoring to bathe the consoling tones of the choirs whose diction, blending and dynamic shading were near-perfect. The power and majesty of the second movement was beefed-up by the sonorities of the Town Hall organ played by Simon Lindley; the rhythmic energy and agility of the choral line in the brilliant fugue was electrifying. Rebecca Evans’ silvery timbre and the crystalline projection of baritone Stephen Loges illuminated their solo sections. Above all, Simon Wright’s mastery of the architecture of what is effectively a choral symphony created a sublime experience – a fitting climax to the orchestral season.

Geoffrey Mogridge Ilkley Gazette and Wharfedale & Aireborough Observer

The Dream of Gerontius
Leeds Town Hall
Saturday 15th February 2014

The late Mary Wilson of Ilkley sang in the soprano section of Leeds Philharmonic Chorus for an astonishing 52 years before going on to serve as President of the Friends of this famous Leeds choir. It is not difficult to believe that Mary would have been absolutely delighted with last Saturday’s performance of Elgar’s choral masterpiece dedicated to her memory. 

Mary’s beloved “Phil” was joined on stage by Sheffield Philharmonic Chorus, St Peter’s Singers and Bournemouth Symphony Orchestra conducted by David Hill. The Massed voices and orchestra amounted to some 350 performers; what an awesome sound they created when Hill unleashed his vast forces for those monumental climaxes. The Demons’ Chorus, backed by the BSO’s snarling brass and sniping woodwind, lacked nothing in its unanimity of attack and spine-tingling ferocity. The effect of Praise to the Holiest in the Height, bolstered by the mighty Town Hall organ played by Darius Battiwalla, could be likened to a dazzling firework display that bathed this ornate auditorium in an exultant blaze of light. But it was in the quieter sections, such as the opening Kyrie eleison, that one could really marvel at the expert blending of voices and the exquisite shading of dynamics achieved by the Phil’s Music Director.

Gerontius was gloriously sung by the tenor Andrew Staples, stepping in at short notice for an indisposed Andrew Kennedy. Staples’ beautifully sustained line, his phrasing and projection of the text infused the voice with anguish and resignation. Mezzo soprano Jennifer Johnston, radiant and consoling as the Angel, produced a ravishing spectrum of tone colour culminating in her deeply-felt and poignant farewell. Baritone Gareth John sung the role of the Priest with bright-toned evangelical fervour. John subtly darkened his voice as the Angel of the Agony   cushioned by the gleaming brass, celestial harps and velvety strings of the Bournemouth Orchestra. The transcendent quality of this superlative performance of the Dream of Gerontius is destined to linger in the memory.

Geoffrey Mogridge Ilkley Gazette and Wharfedale & Aireborough Observer

Leeds Philharmonic Chorus and the Hal

Leeds Town Hall, 2 November 2013

Thoughts of war and remembrance permeated this concert of orchestral and choral music. Elgar’s Overture In the South (Alassio) is effectively a tone poem for large orchestra containing an elegiac central section adorned by a ravishing viola solo. Elgar recalls the thoughts and sensations experienced on a glorious afternoon in the Vale of Andora. The Hallé conducted by David Hill captured the swooping phrases that characterise the expression of longing in so much of Elgar’s music. The ebullient outer sections of the overture pulsed with rhythmic energy although the heavy brass was too often allowed to swamp strings and wind textures.

A similar problem occurred In Elgar’s Choral triptych The Spirit of England, in which the orchestral tuttis should have been reined in. Instead, the 120 voices of the Leeds Philharmonic Chorus were all but subsumed. Hardly a word of the text of three war poems by Laurence Binyon was intelligible. This is not Elgar’s greatest word setting; soprano soloist Elizabeth Watts’ soaring notes managed (just) to penetrate the dense musical jungle.

Ralph Vaughan Williams’ 1936 Dona Nobis Pacem, a setting of poems by Walt Whitman and others, is altogether in a different league. RVW deploys the large orchestra with more consideration for the singers, better enabling Leeds Philharmonic Chorus to project the text with clarity and invest the words with some meaning. Baritone soloist Alex Ashworth’s dark timbre and excellent diction added authority to his lines. Elizabeth Watts’ creamy voice again soared above the orchestra as she intoned the words “Dona Nobis Pacem” (Grant us Peace). The mighty Town Hall organ, played with his customary elan by Simon Lindley, added considerable weight and sonority.

Geoffrey Mogridge Ilkley Gazette and Wharfedale & Aireborough Observer

The Hallé, Leeds Philharmonic Chorus & Leeds Festival Chorus

Leeds Town Hall, 25 May 2013
20th Century American music made for a refreshing finale to Leeds International Orchestral Season. It was a pity though that John Adams’ Harmonium had to be dropped from the programme, for technical reasons. That left the 200 choristers assembled behind the Hallé Orchestra with just one work lasting less than twenty minutes; and what an extraordinarily beautiful one. Leonard Bernstein’s Chichester Psalms were composed fifty years ago for the combined cathedral choirs of Chichester, Winchester and Salisbury.

The composer’s preference was for all-male voices – as deployed for the 1965 Chichester Cathedral premiere. It is difficult to imagine that Bernstein would not have been delighted with the supple phrasing and rich tonal colours of the Leeds choirs, together with the luminous playing of the Halle. The Leeds Festival and Philharmonic Choruses projected the Hebrew text with clarity and startling dynamic contrast under the baton of David Hill. Boy soprano Joseph McDermott was the plaintive and pure-toned soloist in the recitative-aria section of Psalm 23.

Hill and the Hallé had a whale of a time with Copland’s Four Dance Episodes from Rodeo, Bernstein’s sparkling Candide Overture, and his percussive, bittersweet Symphonic Dances from West Side Story. The two opening items created striking textural contrasts – the awesome percussion and brass in Copland’s stupendous Fanfare for the Common Man, followed by the austere solemnity of Barber’s famous Adagio for Strings

Geoffrey Mogridge Ilkley Gazette and Wharfedale & Aireborough Observer

“A Mozart piano concerto, a rarely performed Haydn Mass and Mozart’s Requiem drew a capacity audience for a concert that will go down as one of the season’s finest.

Haydn’s Miss Brevis in B Flat, generally known as the Little Organ Mass, opened the concert. Leeds Philharmonic Chorus’s soft and poignantly sung Dona Nobis Pacem (Rest in Peace) seemed in perfect accord with the mood of Remembrance that has permeated the week. Mozart’s stupendous setting of the Requiem Mass composed in the final weeks of his life and incomplete at the time of his death occupied the second half.
Full choir and orchestra, as distinct from the reduced forces for the Haydn, were now on stage together with Leeds City Organist Simon Lindley. This performance amply demonstrated that David Hill’s declared intention to “take the Phil up a league” is much more than an empty promise.

All of the by now familiar hallmarks of this conductor were evident: rhythmic vitality, absolute clarity of orchestral and choral textures, excellent diction and perfect balance. There was an immediacy and directness about the singing which was breathtaking and the dynamic range from the softness of the Lacrymosa to the force and power of the closing Communio was astonishing. Soprano Sarah Fox, mezzo Sarah Fryer, tenor Timothy Robinson and bass Roderick Williams made up the excellent solo quartet in this great performance, a performance clearly from the heart.

Wharfedale & Airedale Observer, Nov 14 2009 Mozart, Requiem & Haydn, Little Organ Mass

Conductor David Hill found smiles in the Little Organ Mass by Haydn, that master of subtle wit. His choir’s sopranos sounded as though butter wouldn’t melt in the mischievous extended end of the Gloria – written, it is said, to annoy the Esterhazy Chapel clergy.
The Chorus were “tremendae” indeed in the Rex tremendae section, dynamic in Confutatis and brought a chilling sense of inexorability to Lacrymosa.

Few cities have one choral society of this quality – Leeds has two.

Yorkshire Post, Nov 2009 Requiem & Haydn, Little Organ Mass