Cadogan Hall was filled to near capacity for the Bernstein, Barber & Mozart concert on 10 March - the largest audience from outside the choir in our 10 performances there. The only Cadogan Hall concert that sold more tickets overall, was the very first one, when most of the tickets were sold through choir members, as, explained secretary Sylvia Walker, “they were very, very enthusiastic.” Most tickets were sold to the general music-going public through Cadogan Hall, which, sa
Soloists Katharine Crompton & Edward Grint, Adam Tunnicliffe, and Theo Golden, singing in a concert that will move you to tears at Cadogan Hall, 10 March We are not sure how much of the Requiem Mozart wrote or planned in detail with his pupil Franz Sussmayer, before he died a few bars into the Lacrimosa ('Mourning'). But when you hear the Work performed at Cadogan Hall on 10 March, "enjoy it all – whether it's your hundredth Requiem or your first," as BBC Radio 3 presenter T
- So wrote composer Kevin Jones in his review of the Choir's last performance of Mozart's Requiem in May 2006. Thames Philharmonic Choir sang this "mellow and awe-inspiring work" with "musical precision, ease and relaxed commitment..." he continued. "John Bate’s direction secured an exceptional transparency of sound and textural subtlety sustained throughout the entire performance; dramatic precision balanced by lyrical serenity." There was "a freshness and subtlety to the in
Classical music critic, writer and presenter Tom Service wrote in an article about Mozart's Requiem in The Guardian in December 2011: "The real mystery of the piece isn't so much the story [of who composed which bits] but the music that Mozart did manage to write. The problem is that it's too easy to take the Requiem for granted and not hear what Mozart was actually doing in his composition."
Mozart's orchestration drew inspiration from earlier sources such as Handel and Bac
Here's the press release for our next concert: share it! GOLDEN BOY SINGS IN HEBREW FOR BERNSTEIN A young Jewish counter tenor is to sing in Hebrew in a work by Leonard Bernstein to commemorate the centenary of the composer’s birth. Theo Golden, a 19-year-old music student, will sing what he describes as the “incredibly atmospheric” counter tenor part in Bernstein’s Chichester Psalms, at Cadogan Hall on 10 March, with the Thames Philharmonic Choir. It will be Theo’s first sol
Treble voices from Shrewsbury House Preparatory School will take part in the challenging and the rarely performed Vaughan Williams work Sancta Civitas. Benjamin Costello, Accompanist and Assistant to the Artistic Director of Thames Philharmonic Choir, who is directing the boys, describes the challenges they face at this Saturday's (1st April) choral concert at Cadogan Hall. “The Work sits quite high for the trebles, so the boys chosen have to have full use of their upper re
There’s an extraordinary, lyrical and emotive section in Ralph Vaughan Williams’ favourite (though seldom heard) oratorio, Sancta Civitas, when the melody from a solo violin soars bewitchingly around and above the choir. It recalls the composer’s best-known work, The Lark Ascending, which was written a few years earlier. There’s a rare opportunity to hear that magical solo and the thrilling oratorio of which it is part this Saturday, 1st April, in London’s Cadogan Hall (www.c