Verdi Requiem

Leeds Philharmonic Chorus, St Edmunds Roundhay, Saturday 13th June 2026:

by Geoffrey Mogridge
published: 17 Jun 2026 in Wharfedale Observer

GENERATIONS of Leeds music lovers have experienced Verdi’s awe-inspiring setting of the Catholic requiem mass, given by orchestras and massed choirs in the visual and acoustic splendour of Leeds Town Hall.

Last Saturday’s pared down arrangement of Verdi’s Requiem created a somewhat different visceral experience, though just as deeply affecting. David Hill, music director of Leeds Philharmonic Chorus and the Bach Choir of London had commissioned Richard Blackford to produce a version suitable for performance in churches or smaller halls. There would be a full choir and vocal soloists performing the work in its entirety, but with no orchestra – just two pianos, organ and percussion.

It seemed strange at first, to hear the opening bars of the Kyrie for chorus and soloists, softly accompanied by the organ – minus orchestral strings, woodwind or brass. The superbly blended vocal quartet then began, one by one – the bass Andrew Greenan, tenor Iain Milne, soprano Rachel Speirs and mezzo soprano Amy Holyland. A richness of textures soon became evident and my ears were tuned to the new soundworld.

The Dies Irae (Day of Wrath) still emerged in all its terrifying ferocity with the spine-tingling attack of the 120 singers of Leeds Philharmonic Chorus, trained and conducted by Joseph Judge. They were backed by the mercurial piano accompaniment of Russell Medley and Christopher Pulleyn, with interjections from the timpani, played by Mark Concar, plus an awesome big bass ‘Verdi drum’ played by Jan Bradley.

I only missed the full orchestra in the Tuba Mirum. Its two minutes of explosive orchestral and choral energy embellished by eight trumpets is the most thrilling part of the entire work. Just three trumpets would have sufficed to add an extra frisson of excitement to this performance in the towering late Victorian church of St Edmund’s. Otherwise, the instrument with Neil Taylor at the console, supplied a broad spectrum of orchestral colours, in contrast to the brilliant, if more brittle sounding pianos and percussion.

Conductor Joseph Judge, chorus master of the Phil, takes the honours for this splendid performance which ran for an optimum time of 83 minutes. Joseph’s mastery of the immense structure and flow of Verdi’s great work created an unforgettable occasion. A delighted capacity audience responded with rapturous applause.

Ola Gjeilo’s Sunrise Mass

Leeds Philharmonic Chorus, Leeds City museum, March 21st & 22nd, 2026

By Geoffrey Mogridge

published on 1^st April 2026 in Ilkley Gazette and Wharfdale Observer

THE Brodrick Hall is the circular central arena of Leeds City Museum, now restored back to its original mid-Victorian splendour.

This domed auditorium with the structural additions of a proscenium arch, stage and dressing rooms, housed the much loved Leeds Civic Theatre from 1949-2005. It has since emerged as one of the city’s most atmospheric performance spaces, in increasing demand for musical events. A suitably imposing setting then, for the Leeds premiere of Ola Gjeilo’s Sunrise Mass.

Three performances were given by Leeds Philharmonic Chorus in partnership with Leeds Conservatoire Strings and Northern Film School. Joseph Judge, chorus director of ‘the Phil’ prepared and conducted all performances.

The Norwegian composer describes his Sunrise Mass, composed in 2007 as, ‘A musical journey evolving from transparent and spacious to earthy and warm… from nebulous and pristine, through more emotional landscapes, to ultimately solid ground’.

Gjeilo’s Mass is written for mixed choir and string orchestra. Its four sections correspond with invocations from the Traditional Latin Mass: The Spheres (Kyrie eleison) opens with sustained chords alternating between the four-part choir accompanied by string orchestra. The sopranos open the Sunrise (Gloria) with a memorable theme taken up by the whole choir of 100 singers. The City (Credo) opens with shifting rhythms in the strings which are developed by the tenors and basses. The final section, Identity and The Ground, corresponds with the Sanctus, Benedictus and Agnus Dei of the Latin Mass.

Gjeilo’s score resolves in expansive music evocative of vast plains and endless azure skies. Projected video footage of central Leeds streets and hazy sunrise over rivers and viaducts was beautifully filmed by students of the Northern Film School. These performances were transformed into an enthralling audio visual experience enjoyed by hundreds.