I’ve never heard it before and it was truly lovely.

Overheard

I enjoyed the concert immensely.

Overheard

I can’t get over it. It was lovely, wonderful, and the soloists were terrific.

Overheard

Excellent, lovely, brilliant.

Overheard

It was marvellous, really it was.

Overheard

COMMENTS AND A REVIEW OF OUR PERFORMANCE OF HAYDN’S THE SEASONS

Sunday 30 November 2014

Comments overheard from audience members on their way out:
“Wonderful” “Superb” “Bloody good!”
“Was the soprano mic’d?” “No.” Well she’s got an amazing voice” (that’s Catherine Hamilton of course)
“Really powerful, so good” “I loved it”
“Really, really good. I really enjoyed this evening”
“I thoroughly enjoyed it”

REVIEW BY PHILIP R BUTTALL FOR THE HERALD

Plymouth Philharmonic Choir: Haydn’s Seasons

PLYMOUTH Philharmonic Choir, under conductor Christopher Fletcher, had clearly put in a lot of effort over the last few months not only to rehearse a work that is both challenging and long, but then to perform it with such aplomb.

There was so much to applaud here in the choir’s vigorous singing, which nicely captured the various nuances of Haydn’s writing and tone painting, both its humour and pathos.

Soloists Catherine Hamilton, pictured, and Andrew Mahon were in fine voice, too, in concerted and solo numbers alike, and where Paul Foster’s effectively-inventive harpsichord continuo – albeit of the electronic variety – made a particularly telling contribution in the recitatives.

In a work that celebrates the achievements of the Almighty, especially through nature and the weather, it was largely inevitable that one or two unscripted acts of God would perhaps make their presence felt on the night.

Tenor Philip Pooley had to stand in for the indisposed Richard Rowntree at the very last minute, the Guildhall sound system decided to play up with some random noise effects in the first half, and the otherwise excellent orchestra did seem to find establishing initial tempi unusually challenging at times.

But the choir’s performance still had all the necessary power and conviction to override any such hindrances, and fully deserved the generous ovation at the end of a particularly long evening’s music-making.

REVIEW BY MUSICAL DIRECTOR AND CONDUCTOR BRIAN GERRY

Sunday 29 June 2014

Scenes from the Bavarian Highlands – Edward Elgar

This set of six choral songs was originally arranged with piano (1895) and later arranged with orchestral accompaniment (1896 ) Last evening’s performance used the original arrangement with piano. A truly wise decision, which was able to show the many facets of this splendid choir. From the first few opening bars, the audience was captivated by the glorious sound from the Philharmonic Choir, under the direction of Christopher Fletcher and the brilliant accompaniment by Jenny Shepley.

The opening song, ‘The Dance’, definitely created a joyful sound, ideal for a summer evening and throughout the cycle, the audience was treated to a huge panorama of delightful and expressive, robust singing from this choir.

Carmina Burana – Carl Orff

Yet another inspired decision to use the 1956 arrangement of the work by the composer for two pianos and six percussion players, produced twenty years after he wrote the original score. The choir was joined by the Ridgeway School Chamber Choir and Jenny Shepley was joined by Paul Foster and together they formed a vibrant duo. The youth choir and the percussion department certainly deserved the applause they received.

This work is so well known and always delights an audience and last evening was no exception. The choral singing, in complete contrast to the ‘Bavarian Highlands, was again exceptional.

The choir was joined by three soloists : Catherine Hamilton, Leslie Baker and Michael Dewis. All three of them sang, performed and portrayed the music, in what was truly a theatrical experience. Mention must be made of Catherine Hamilton, who sang with her usual bright and expressive tone. How many sopranos can sing a top D as beautifully?! Michael Dewis entertained the audience with his glorious voice and really performed as though he was on stage! His ‘Ego sum abbas’ was particularly impressive. It was also evident that the choir, as a whole, appreciated all three soloists and were equally captivated by them.

A fantastic evening enjoyed by everyone – audience, choir, soloists and accompanists alike. It is no wonder that, under the direction of Christopher Fletcher, the Plymouth Philharmonic Choir has become recognized as one of the best in the country.

Some comments from the audience after this concert:

“The concert was fantastic! So different from other concerts I’ve been to.”
“The whole thing was magnificent…the pianos, percussion, soloists, the schoolgirls as well as the choir, it was tremendous.”
“I’ve heard the choir many times now but tonight Elgar’s lovely tunes with just the piano accompaniment were beautiful.”
“This is our first time to a Phil concert and we are very impressed!”
“That was lovely”
‘It was a badass concert!!!!

MORE REVIEWS

Review by composer Clive Jenkins in The Herald of our spring 2014 concert

Plymouth Philharmonic Choir – Dvorák’s Stabat Mater

Plymouth Guildhall 6th April 2014

“DVORÁK’S Stabat Mater is not often done but the Plymouth Philharmonic choir under Christopher Fletcher made it seem like an old friend.

The choral singing was beautifully controlled. The orchestra (leader Mary Eade) was on top form. The soloists – Catherine Hamilton (soprano), Juliet Curnow (mezzo), Iain Milne (tenor) and Darren Jeffery (bass) – were individually excellent and blended well as a team.

Nowhere was this more apparent than in their moments of unison.

Dvorák wrote the work following the deaths of his three children. One died at birth, then, two years later, a toddler drank from a bottle of phosphorus and an infant son caught smallpox.

In setting this 13th century religious poem about Mary mourning for Jesus, Dvorák somehow managed to rise above personal tragedy. The large audience in the Guildhall certainly felt this.” Read more here.

CLIVE JENKINS

Note from the choir’s Press Officer Howard Perks

Many people have reported back to me, to Christopher Fletcher and to others that this concert was perhaps the choir’s finest ever. Well done all!

December 2013: Handel’s Messiah Part 1 and Bach’s Magnificat

“The choir was in good form, very well drilled and rehearsed”

“Huge credit is due to Christopher for a sparkling evening from the choir”

Anon

July 2013: Handel’s Dixit Dominus, Schubert’s Mass in G and Vivaldi’s Gloria

 “From the outset it was clear that Plymouth Philharmonic Choir had well and truly done their homework …….”

Schubert’s charming and eminently tuneful Mass in G and Vivaldi’s well known and highly exuberant Gloria……. “once more brought the very best from the singers, with some beautifully-shaped phrasing and finely- crafted dynamics, which have become the Phil’s hallmark under conductor Christopher Fletcher’s capable leadership”

…..the Phil’s latest offering certainly didn’t disappoint it’s many fans, if the final ovation was anything to go by”

Philip R Buttall

 March 2013: Gounod’s St Cecilia Mass and Faure’s Requiem

” Under Christopher Fletcher’s intuitive direction Plymouth Philharmonic Choir was on top form in both works, finely contrasting the understatement, eloquence and ethereal qualities of the Requiem with the Bombast of the Mass. but which still had many moments of great beauty along the way”

Philip R Buttall

December 2012: Elgar’s The Music Makers, Poulenc’s Gloria and Parry’s Blest Pair of Sirens

 ……. “Plymouth Philharmonic Choir’s well disciplined performance certainly did the composer proud”.

………”the choir was on top form”………….

……”singers and players had given their absolute all”……..

Philip R Buttall

July 2012: Karl Jenkins The Armed Man, Andrew Carter’s Horizons and Walton’s Te Deum

……….”the 135 strong voices, under the ever dependablecontrol of Christopher Fletcher proved themselves equally effective in the most awe-inspiring climaxes”………

Philip R Buttall

March 2012: Karl Jenkins Requiem and Andrew Carter’s Horizons

Plymouth Philharmonic Choir as ever, rose to the not inconsiderable challenge to produce a stunning performance full of passion, emotion and singing of the highest order and where supreme dynamic control finely contrasted massive climaxes with hushed contemplative moments”

Philip R Buttall

COMMENTS AND A REVIEW OF OUR PERFORMANCE OF HAYDN’S THE SEASONS

Sunday 30 November 2014

Comments overheard from audience members on their way out:
“Wonderful” “Superb” “Bloody good!”
“Was the soprano mic’d?” “No.” Well she’s got an amazing voice” (that’s Catherine Hamilton of course)
“Really powerful, so good” “I loved it”
“Really, really good. I really enjoyed this evening”
“I thoroughly enjoyed it”

REVIEW BY PHILIP R BUTTALL FOR THE HERALD

Plymouth Philharmonic Choir: Haydn’s Seasons

PLYMOUTH Philharmonic Choir, under conductor Christopher Fletcher, had clearly put in a lot of effort over the last few months not only to rehearse a work that is both challenging and long, but then to perform it with such aplomb.

There was so much to applaud here in the choir’s vigorous singing, which nicely captured the various nuances of Haydn’s writing and tone painting, both its humour and pathos.

Soloists Catherine Hamilton, pictured, and Andrew Mahon were in fine voice, too, in concerted and solo numbers alike, and where Paul Foster’s effectively-inventive harpsichord continuo – albeit of the electronic variety – made a particularly telling contribution in the recitatives.

In a work that celebrates the achievements of the Almighty, especially through nature and the weather, it was largely inevitable that one or two unscripted acts of God would perhaps make their presence felt on the night.

Tenor Philip Pooley had to stand in for the indisposed Richard Rowntree at the very last minute, the Guildhall sound system decided to play up with some random noise effects in the first half, and the otherwise excellent orchestra did seem to find establishing initial tempi unusually challenging at times.

But the choir’s performance still had all the necessary power and conviction to override any such hindrances, and fully deserved the generous ovation at the end of a particularly long evening’s music-making.