Alle Konzerte des Philharmonia Chorus London sind von Stefan Bevier,

Chorusmaster Philharmonia Chorus London vorbereitet und einstudiert b.z.w. dirigiert und in Zusammenarbeit mit BEVIER Musikverlag GmbH entstanden.

 

The Philharmonia Chorus in Gerontius

Rheingau Musik Festival 2.9. 2017

Chorus Master Stefan Bevier 

 

The Philharmonia Chorus was the star of the evening.  The chorus of around a hundred men's and women's voices pulled out all the stops, sounding now celestially transported, now devilishly sinister.  The top symphony chorus from London, guests for the first time at the Rheingau Music Festival, gave us goose pimples with their piano and their forte had powerfully resonating energy.  Together with the orchestra they created an unparalleled apotheosis of sound.  Long, refreshing applause from the enthusiatic audience.



 

 

Der Philharmonia Chorus war der Star des Abends. Die rund 100 Männer- und Frauenstimmen zogen alle Register, klangen mal sphärisch entrückt, mal teuflisch finster. Im Piano sorgte der sinfonische Spitzenchor aus London, der zum ersten Mal beim RMF gastierte, für Gänsehaut, im Forte für schallgewaltigen Nachdruck. Langer, erfrischender Applaus vom begeisterten Publikum.  http://www.giessener-allgemeine.de/ueberregional/mantelredaktion/kultur/art465,308624 

 

 

Engelsgleich und teuflisch finster

Satter Sound an historischer Spielstätte. Edward Elgars Oratorium »The dream of Gerontius« gewinnt beim Rheingau Musik Festival viele neue Freunde. Doch beinahe wäre es nicht zur Aufführung gekommen.

03. September 2017, 22:06 Uhr

 

Von Manfred Merz

Und bitte! Paul McCreesh gibt bei Edward Elgars Oratorium »The dream of Gerontius« den Ton an. Tenor Brenden Gunnell setzt passgenau ein, Mezzosopranistin Kathryn Rudge steht bereit. (Foto: © RMF /Ansgar Klostermann)

Und bitte! Paul McCreesh gibt bei Edward Elgars Oratorium »The dream of Gerontius« den Ton an. Tenor Brenden Gunnell setzt passgenau ein, Mezzosopranistin Kathryn Rudge steht bereit. (Foto: © RMF /Ansgar Klostermann)

Edward Elgar – das ist der mit den knapp drei Sinfonien und dem wunderbaren Cellokonzert, dem schönsten von allen. Dass Elgar auch Oratorien komponiert hat und sein »The dream of Gerontius« (Der Traum des Gerontius) in England zu den Berühmten gehört, ist in Deutschland zwar bekannt. Gespielt wird das Werk hierzulande aber nicht alle Tage, weshalb es viele Klassik-Fans nicht kennen. Auch beim Rheingau Musik Festival (RMF), dessen 30. Auflage am Samstagabend in der Basilika von Kloster Eberbach nach 155 Aufführungen an 42 Spielstätten zu Ende ging, stand das Stück bislang noch nie auf dem Spielplan. Höchste Zeit also, das zu ändern.

 

 

Beinahe aber wäre das Konzert nicht realisiert worden. Anfang Juni verstarb überraschend der planmäßige Dirigent, Sir Jeffrey Tate, im Alter von 74 Jahren. Ersatz war zwar schnell gefunden: Martyn Brabbins erklärte sich bereit, sagte jedoch aus familiären Gründen in letzter Minute ab. Was nun? Die Festivalleitung verpflichtete kurzfristig den Ersatzmann des Ersatzmannes: Paul McCreesh. Der Brite hatte den »Gerontius« schon einmal dirigiert, und seine Aufführung von Händels »Messiah« beim RMF im Juli dieses Jahres war ein Erfolg.

 

Um es vorwegzunehmen: McCreesh leitete am Samstag das Orchester, die Symphoniker Hamburg, mit sichtlicher Leidenschaft und sicherer Hand. Die Musiker ließen unter seiner Stabführung den Elgar intensiv und gleichermaßen einfühlsam erklingen. McCreesh arbeitete die Substanz des Stückes heraus, ohne vordergründige Affekte zu setzen. Einmal freilich heißt es in der Partitur für alle, so laut wie möglich zu spielen. Auch das gelang wie mit Donnerhall.

 

Erzählt wird im ersten Teil des Oratoriums die Todesstunde eines Greises, ehe im zweiten Abschnitt die Seele des Verstorbenen ihren reinigenden Weg durchs Fegefeuer antritt. Brendall Gunnell sang die Riesenpartie des Gerontius, des alten Mannes (vom griechischen »geron«), mit Aplomb. Die Stimme des aus dem US-Staat Maryland stammenden Tenors lag stets über dem Orchester und füllte das große Kirchenschiff bis in den letzten Winkel. Wie gut er intonierte und ausformulierte, wurde im Vergleich zu Kathryn Rudge in der Rolle des Schutzengels deutlich. Die in Liverpool geborene Mezzosopranistin hatte zu Beginn Mühe, sich durchzusetzen. Sie fand auch im Forte nicht immer das geeignete Mittel, um zu brillieren. Markus Eiche als dritter Solist zeigte eine solide Leistung. Man hätte dem Schwarzwälder Bariton in seinen Rollen als Priester und Todesengel eine etwas dunklere Färbung gewünscht.

 

Der Philharmonia Chorus war der Star des Abends. Die rund 100 Männer- und Frauenstimmen zogen alle Register, klangen mal sphärisch entrückt, mal teuflisch finster. Im Piano sorgte der sinfonische Spitzenchor aus London, der zum ersten Mal beim RMF gastierte, für Gänsehaut, im Forte für schallgewaltigen Nachdruck. Zusammen mit dem Orchester ergab sich eine Klangapotheose, die ihresgleichen sucht. Langer, erfrischender Applaus vom begeisterten Publikum.

 

 

Stefan Bevier dirigiert

Elgar , Parry , Stanford, Wood, Wesley,Vaughan Williams

 

Rheingau Musik Festival 31.08.2017

 

" The total vocal magnificence " and „guaranteed splendor 

 

http://www.wiesbadener-kurier.de/freizeit/kunst-und-kultur/kulturnachrichten/rmf-chorus-aus-london-gibt-sich-in-der-wiesbadener-marktkirche-kraftvol_18150742.htm

 

„den Weg in Richtung des totalen vokalen Prunks gewiesen „   „garantierten Glanz „

 

http://www.wiesbadener-kurier.de/freizeit/kunst-und-kultur/kulturnachrichten/rmf-chorus-aus-london-gibt-sich-in-der-wiesbadener-marktkirche-kraftvol_18150742.htm

 

WIESBADENER KURIER / FREIZEIT / KUNST & KULTUR / KULTURNACHRICHTEN

Kulturnachrichten02.09.2017

Rheingau Musik Festival: Chorus aus London gibt sich in der Wiesbadener Marktkirche kraftvoll

/Ansgar Klostermann

Von Axel Zibulski

WIESBADEN - Sehr britisch wird es zugehen, wenn am heutigen Samstagabend das Rheingau Musik Festival ausklingt. Edward Elgars selten aufgeführtes Oratorium „The Dream of Gerontius“ steht dann in der Basilika von Kloster Eberbach auf dem Programm, vom Londoner Philharmonia Chorus aller Voraussicht nach höchst machtvoll intoniert. Wenn denn die Eindrücke eines Konzerts, das der Chor vorab in der Wiesbadener Marktkirche gab, nicht täuschen.

Elgar erklang auch im ganz und gar britischen Kontext dieses ersten Festival-Auftritts des 1957 gegründeten Chors: Der a cappella zu singende Satz „The shower“ op. 71/1 war, in der an diesem Abend nur höchst punktuell gewählten Kammerbesetzung, allerdings eine der seltenen Pianissimo-Inseln eines von Stefan Bevier geleiteten Programms in der Marktkirche. Der 1958 in Landau geborene Chefdirigent hatte eingangs mit dem „Te Deum“ von Ralph Vaughan Williams den Weg in Richtung des totalen vokalen Prunks gewiesen. Trotz aller Massivität klang das ganz überwiegend stattlich und sauber fokussiert – und bezog außerdem wirkungsvoll den Nachhall der Wiesbadener Marktkirche ein.

Deren neogotische Anlage war ohnehin beste Basis für die Musik der sogenannten „English Music Renaissance“, deren vielleicht bekanntestes Stück jenes als Zugabe gegebenes „Jerusalem“ von Hubert Parry ist, das Jahr für Jahr zum festen Bestandteil der Londoner „Last Night of the Proms“ gehört. Aber auch das prächtige Magnificat von Charles Villiers Stanford oder die stolze Schlichtheit einiger Chorsätze seines irischen Schülers Charles Wood garantierten Glanz.

Für eine Auffächerung der Farben sorgte, als Begleiter wie auch in zwei Solostücken, Marktkirchen-Kantor Thomas J. Frank an der Orgel.

 

 

Singers And Conductors Beware: Stefan Bevier Won’t Settle For Second Rate

03/28/2017 09:35 am ET
 http://www.huffingtonpost.com/entry/58da669ce4b04f2f079272e8

Stefan Bevier, the leading choral conductor in Europe and the United Kingdom, doesn’t tolerate weakness, either in the choruses he leads or from the conductor’s podium.

Bevier’s musical lineage is impeccable – he played regularly with the Berlin Philharmonic under the baton of Herbert von Karajan, one of the greatest conductors of the 20th century. So what he says about conducting, you can take to the bank.

His voice teacher for five years? Only the legendary Dietrich Fischer-Dieskau, one of the greatest singers of all time.

He is currently the Chorus Master of the Philharmonia Chorus, the leading vocal group in London. Bevier flies there from Germany twice a week to lead the group, whose standards he has raised to a shimmering high.

It’s not as though he’s sitting quietly at home the other five days of the week. Bevier conducts 80 concerts a year all over Europe and the UK, making him one of the most prolific music makers of the era.

If you’re going to sing for Bevier, you better be good. His standards are incredibly demanding and he is famous for not suffering fools gladly.

“A lot of singers are dummkopf,” Bevier says flatly. “They think that because they sing, they are more important than people who do not sing. Singing is not better than playing violin or football. But if you’re going to do it, you have to do it right.”

Choral singers, Bevier insists, must practice what he calls Stimmbildung, a German word freely translated as “voice formation” or vocalization.

The practice, which he learned from Fischer-Dieskau, includes voice control, voice training, release, articulation, placement of consonants, proper intonation, and perfect technique.

It’s not just singing well, though, that makes a singer a great choral singer.

“If you’re going to be a first-class chorus singer,” Bevier says, “you have to understand you’re part of the show. You’re not playing a role, as in opera.

“In order to do this, you must reduce your tremolo, so that you blend with your fellow singers. You must sing in a manner that creates overtones – a rich, wide, huge sound, not lacking for colors in each dynamic. You may think you have a big voice or a nice voice. But ultimately, you must sublimate your ego and focus on the spirit of the piece you are performing.

“A singer’s duty,” Bevier says, “is to communicate the message of the music and the voice must become the vehicle for the communication of that message. “

Bevier also has little patience for conductors who may have big names but ultimately don’t know all that much about music.

“A lot of famous conductors actually aren’t musical enough to understand a piece like Beethoven’s Ninth,” Bevier says. “They travel the world and everybody adores them, but that doesn’t mean they can do their job well. It’s the same as in any field.”

If a conductor is willing to conduct a piece well, he has to understand more than the notes on the page, Bevier insists.

“When you’re preparing to conduct a piece like Beethoven’s Ninth, or the Missa Solemnis,” Bevier says, “you must ask yourself questions. When did the composer write the piece? Under what circumstances? What did he write before that piece? What’s the history? The traditional scores of the piece – are they accurate or are they wrong? What is the texture of the music?

“A lot of conductors don’t take care. They end up doing Mozart like Beethoven, Verdi like Mahler, or Brahms like Carmina Burana.”

As a choral director, there’s only so much Bevier can do in order to overcome the shortcomings of the big-name conductor who parachutes in unprepared to lead a piece.

“If I meet a big-name conductor who is, in my opinion, not prepared or not good enough,” Bevier says, and with characteristic bluntness, “I try to get the best results anyway. I’ll have meetings with the conductor; I’ll sing or play the piano and discuss the history of the piece with the conductor. We’ll have a glass of wine together. If you have a good relationship, you can change a lot.”

Bevier says that conductors are often grateful, although they may not say so, because he is actually making them look better.

Bevier’s frame of reference remains Herbert von Karajan.

“He would create sound clouds,” Bevier recalls. “He would shape the sound, with one sound leading to the next. He never forced or pressed. He had the extraordinary ability to keep musicians free playing. He was not a policeman, always criticizing people and telling them, ‘This is wrong, this is sharp, this is flat.’ He respected his musicians and got the most from them.”

Bevier contrasts von Karajan’s style of conducting, in which he would move his hands in the way that the human body moves, with the more dramatic style statement by lesser conductors, even the famous ones.

“They often look as though they are signaling to park a jet plane, not conducting music,” Bevier says. “Karajan would never jump around like a ballet dancer. The way he conducted was not hectic or stressful. His tempi were always in proper proportion, one following the next organically. He wasn’t doing a lot of show business like a Leonard Bernstein. He was noble and reserved on stage.”

From the current generation of conductors, Bevier’s favorite is Andris Nelsons, the music director of the Boston Symphony Orchestra.

“He’s getting the best results of any conductor today,” Bevier says. “He’s always giving his full heart, not to make a show of himself. Instead, he shows the spirit of von Karajan. He is the leading conductor of our time and the result is phenomenal.

“When you listen to Nelsons conducting the Berlin Philharmonic or the Boston Symphony Orchestra, you realize there is no arrogance. Artistic leadership cannot be democratic. A conductor must decide. Nelsons is by far the best.”

A few years ago, when Nelsons conducted the Philharmonia Chorus, which Bevier had prepared in Brahm’s Requiem, Nelsons turned, satisfied, to Bevier, and gave the choral director the greatest compliment he could receive. “This is the Karajan sound,” Nelsons said approvingly.

THE MORNING EMAIL
Start your workday the right way with the news that matters most.

You couldn’t give Bevier a greater complimenthttp://www.huffingtonpost.com/entry/singers-and-conductors-beware-stefan-bevier-wont_us_58da669ce4b04f2f079272e8?

THE HUFFINGTON POST

Beethoven - Symphony No.9 'Choral'
Philharmonia Orchestra conducted by Benjamin Zander
Royal Festival Hall, London, 18 March 2018
19 / 03 / 2017 Chorus Master Stefan Bevier

...this was singing of the highest quality, powerful, controlled, overwhelming

Anthony Hodgson, www.classicalsource.com

 

The Chorus was staggeringly good throughout. 
Colin Clarke, http://seenandheard-international.com

 

Watch The Philharmonia Chorus and chorusmaster Stefan Bevier https://www.youtube.com/watch?v=rfckijW2YKw   

 

 

 

Missa Solemnis 17.1. 2017 Festival zur Eröffnung der Elbphilharmonie 

The Philharmonia Chorus Chorus Master Stefan Bevier

 

 

 

Die Musik sang und atmete.....

Der grandiose Philharmonia Chorus London.............erzeugten überwältigende Gefühle.

.....Jubelstürmen

 

"The music sang and breathed .....
The grandiose Philharmonia Chorus London ............. produced overwhelming feelings.
.....
Cheering storms ... "

Die Welt

 

Elbphilharmonie: Eindrucksvoller Einstand der Symphoniker im Großen Saal - WELT

Eindrucksvoller Einstand der Symphoniker im Großen Saal

 

WELT.DE

 

 

Missa Solemnis Beethoven 17.1. 2017  The Philharmonia Chorus ,

Chorus Master Stefan Bevier, Festival zur Eröffnung der Elbphilharmonie Hamburg

From Sir Norman L. Rosenthal https://en.wikipedia.org/wiki/Norman_Rosenthal

 

regarding Missa Solemnis in Hamburg Elbphilharmonie

 

 

Dear Stefan Bevier,

It was a pleasure to meet you also in Hamburg at Jeffrey Tate’s concert with the Hamburg Philharmonia of Beethoven’s Missa Solemnis. The performance was outstanding in every way but quite unique, at least in my experience, was our great chorus from London, the Philharmonia Chorus. I really feel that I have never heard this piece sung better by a chorus. They made the staggeringly difficult music of Beethoven, who was not, of course, particularly sympathetic to the possibilities and limitations of the voice (one might say even cruel), sound positively easy to sing. The chorus had the most extraordinary clarity in every section, but later after meeting you and learning of how you had constructed the chorus using professionals and music students, as well as amateurs. It all became much clearer to me. None of this takes away from the fact that the achievement on their part was magnificent. I am old enough to remember the days of Wilhelm Pitz and Otto Klemperer doing this ever-staggering piece of music, but I feel that under your leadership, at least on that evening, the chorus was as good, if not better, as in those legendary days.

I hope that we will come across each other soon.

I come to Berlin from time to time.

Kind regards,

norman

 

https://en.wikipedia.org/wiki/Norman_Rosenthal

 

Missa_Solemnis_-_Alicante__2_December_2016.jpeg


Beethoven - Missa Solemnis
Orquesta de Valencia conducted by Yaron Traub
Auditorio de la Diputación, Alicante, 2 December 2016
4 / 12 / 2016

The Israeli director was fortunate to have a great chorus, the Philharmonia Chorus, one of the most prestigious in Europe since the legendary Otto Klemperer, producer Walter Legge and the great Wagnerian choirmaster Wilhelm Pitz shared the initiative to found it in 1957. On this occasion they were prepared by Chorus Master Stefan Bevier, the other great individual responsible for the goodness of this concert. He was able to imprint that feeling of incessant tension, even in the faintest passages, with which Beethoven wanted to take his musical idea to the maximum choral expression.
José Antonio Cantón, El Mundo

 

 

The Philharmonia Chorus in Missa Solemnis In Valencia 3.12. 17

BEETHOVEN - MISSA SOLEMNIS

 

PALAU DE LA MÚSICA, VALENCIA, 3 DECEMBER 2016

 

 

 

More Rome than solemn

 

To schedule and to listen to the Missa Solemnis of Beethoven is always an event in the diary of

 

any concert hall or music lover. Such are the technical and artistic demands of the monumental

 

symphonic-choral creation written between 1820 and 1823 and not heard until 18 April 1824 in

 

remote St. Petersburg. On this occasion, the Palau de la Música and its Valencia Orchestra,

 

under the direction of Yaron Traub (Tel Aviv, 1964), have entered the immense and committed

 

adventure of approaching the complex score. They have counted on the very unequal

 

collaboration of a misconceived vocal quartet and the splendid Coro Philharmonia of London that

 

marked the highest points of the night.

 

It is precisely the choral component that is the most essential part of the work, here remarkably

 

performed by the 110 voices of the celebrated London choir, prepared by its director the great

 

Stefan Bevier (huge error to omit his name in the programme) was, by far, the best thing of the

 

concert. All their interventions moved in excellence. From the brilliant Kyrie and Gloria to the

 

internalized and finely tuned Agnus Dei, which closes the great Beethovenian Mass, or to the

 

ardent Credo in unum Deum, the British chorus raised quality and artistry to the highest levels.

 

Faced with such an enormous and excellent mass of sound, with an accumulation of subtleties

 

and perfections.........

 

One of the most anointed and beautiful moments of the Beethovenian Mass is the Benedictus,

 

with the fundamental and extensive soloist of the violin, defended with virtuosity and

 

interiorized sensibility by Anabel García del Castillo, whose participation contributed decisively

 

to the final warm ovation with which the audience that filled the Palau de la Música awarded

 

everyone. The applause increased with deserved clamour whenever the ignored Stefan Bevier

 

raised his exceptional chorus. What a chorus! What a mass!

 

Justo Romero

 

Levante - El Mercantil Valenciano

 

5 December 2016

 

 

 

 

 

------------------------------------------------------------------------------------------- 

 

Atheists, Impious and voters:

 

redeem yourselves after this

 

magnificent Messiah at the Palau

 

by Sixto Ferrero, Valencia.

 

 

 

 

A Handel`s Messiah has always a world of connotations and possibilities, options and

 

versions, even more than the number of political parties registered for the presidential

 

election.

 

(Ultimately, there is a huge romantic side to it, partially because of the past well

 

matched participant Messiahs )

 

It looks like they have conquered (earned) our ears.

 

Unless one opts for a historicist version, which isn't the case of last night`s performance,

 

two options are left: or the superficiality based on the overwhelming wall of sound, without

 

shades or the drama attributed to this sacred oratorio.

 

Last night, Stefan Bevier totally embraced , with success, the drama.

 

Classy, offering something more of a coherent contrast, risky nuances and a

 

magnificent expression accompanied by an overwhelming technique of execution.

 

This was an operatic version of the most sacred and most popular oratorio in the

 

history of music.

 

And it did impress all the regular audience of the Palau.

 

Probably, last night`s concert was the best of the entire season of the Palau de la

 

Musica. At least one of the best attended. Although not completely sold out, some people

 

decided they had enough after listening to the Hallelujah Chorus.

 

The reduced orchestra (Orquestra) de Valencia to a baroque ensemble, with one

 

Harpsichord and one organ, 2 trumpets, 2 oboes, one bassoon and 2 baroque timpani, was

 

most perfect, in comparison to what the same orchestra does exclusively.

 

The strings of the orchestra showed guaranteed flexibility, knowledge on how to

 

produce a malleable sonority and how to apply the demands of the German director, who

 

chose really sudden cuts, contrasts of sonority, accents and character, variation on repeated

 

phrases and also the drama in the interaction with the soloists, producing sonorous and

 

colourful pianissimi. Furthermore, in the bass aria The Trumpet shall sound, the trumpet

 

soloist of the night, Juan Fons was (right), and the same way Javier Eguillor played the

 

timpani. Both, part of the main orchestra of Valencia, had crucial moments with the vocal

 

soloists.

 

But if something enchanted for its quality and perfection, was without doubt (and the

 

good audience promptly recognised it) the Philharmonia Chorus. With excellent technical

 

effectivity in the canonic numbers or fugues, also in the good hands of Stefan Bevier, in each

 

of the entrances, the 4 sessions adjusted themselves to convey the protagonists, perfect details

 

of execution as well as versatility in producing the most homogenic Fortes and the most subtle

 

Pianos, adding to the drama, the character, the expression, displaying an almost perfect

 

tuning, solidity , and showing a professionalism that leave behind , by far, all the choirs we

 

have seen during the season at the Palau.

 

Furthermore, the four soloists, the most operatic part of the oratorio last night, were

 

soprano Fleur de Bray, who gave herself from the first solo to the interpretation and the

 

expressiveness, with a well projected voice and well executed versatile and agile ornaments.

 

With equal quality the tenor Gyula Rab also used of the interpretation, agility, good

 

projection and technique.

 

Finally, the mezzo soprano Claire Barnett-Jones suffered from lack of projection, hiding

 

her voice behind the music stand, although she gradually warmed up in the low register she

 

showed little brightness in the middle register being in disadvantage and insecure if compared

 

to the other soloists, always with her eyes fixed on the music.

 

Similarly started the bass Ian Beadle with little resourcefulness and with a (hidden) voice

 

that slowly started to reveal itself specially in the 3rd part of the piece, during the above

 

mentioned The Trumpet Shall Sound, where he showed easiness in linking passages in

 

ornaments on different registers.

 

For last, Stefan Bevier, has got a very peculiar way of conducting, with characteristic

 

gestures and accentuated mannerisms, he gives himself to the character and expression.

 

There is no need to add anything else to the version of the Messiah we heard last night

 

at the Palau, which showed continuity of dramatism, coherent expression and extreme pious

 

passion.

 

Magnificent musicality to redeem the atheists, the most impious or the most unwary

 

voters.

 

Next year what would you choose for a Christmas oratorio?

 

Concert took place on the 18.12. 2015 Palau de la Musica in Valencia

Original review here : http://www.laveupv.com/noticia/17415/ateus-impius-i-votants-redimiu-vos-davant-un-magnific-messies-de-handel-al-palau   

 

 

ANOTHER ANCIENT MESSIAH

 

 

 

Antonio Gascó was right when he said in his programme note that ‘Messiah’ can

 

accommodate numerous and widely-varying interpretations, no two ever alike. In this lies

 

a large part of its greatness. The real test, as always and especially in artistic matters, is

 

the end to which the means are put.

 

For the third year running, the Christmas Concert presented at the Palau was placed in the

 

hands of the resident orchestra. The performance was Baroque in style, but with modern

 

instruments and with an articulation unequalled even on the latest high-quality recording.

 

Ranged behind around thirty orchestral players on the platform were the Philharmonia

 

Chorus, numbering approximately one hundred singers. It’s nothing that Handel in his day

 

would have sniffed at. Even less given that the interpretation was fully committed and

 

did not limit itself – as, for example, in the case of the performance directed by Gómez

 

Martínez fifteen years ago, with dire results – to mechanical translation into sounds of

 

what was notated on the page. On the contrary, Stefan Bevier introduced a wealth of

 

modifications (the most conspicuous being the dynamics of the closing chords of a

 

number) and whenever appropriate he indicated with large gestures the grand sweep of a

 

passage without avoiding at all costs a burst of sound.

 

As this approach was maintained from beginning to end, and with more than remarkable

 

results, in particular in the sequence of choruses in the second part, one could only sit

 

back and relax – most people enjoying the experience, others bearing it.

 

Among the soloists it was the bass who best had the vocal resources to put his intentions

 

into effect. The soprano sang with more delicacy and poise in the upper register than in

 

the middle tones, the mezzo almost only in the lower register. The tenor sang throughout

 

with his voice covered, leaving himself little margin for conveying emotion. The hall was

 

filled with an audience eager to applaud.

 

Alfredo Brotons Muñoz

 

Levante, El Mercantil Valenciano

 

22 December 2015

 

 

Latest Reviews

 

 

Don-Giovanni-360x240.jpg


Mozart - Don Giovanni
Orchestra of Classical Opera conducted by Ian Page
Cadogan Hall, London, 17 June 2016
19 / 06 / 2016

The Philharmonia Chorus made Zerlina and Masetto's friends suitably charming, whilst being dark-voice demons at the end.
                                          Robert Hugill, www.planethugill.com

 

 

Orff - Carmina Burana
Royal Philharmonic Orchestra conducted by Charles Dutoit
Royal Festival Hall, London, 31 May 2016

01 / 06 / 2016

Carmina_Burana_2_copy.jpg

What a splendid job Stefan Bevier has done with the Philharmonia Chorus, here unanimous, lusty, charismatic, candid..'
Colin Anderson, www.classicalsource.com

 

OAE_Mahler_2_performance_copy.jpg


Mahler - Symphony No.2 'Resurrection'
Orchestra of the Age of Enlightenment conducted by Vladimir Jurowski
Royal Festival Hall, London, 12 April 2016
13 / 04 / 2016

The Philharmonia Chorus sang with power and passion...
Matthew Rye, https//:bachtrack.com

The choir clinched the Finale with superbly controlled pianissimo singing.
Peter Reed, www.classicalsource.com

The Philharmonia Chorus made a magically hushed entry.
John Allison, The Telegraph

The skilfully controlled quiet entry of the Philharmonia Chorus, very hushed singing by many voices, when it is done as well as this, always creates a special moment.
Barry Creasy, www.musicomh.com

Jurowski led a performance that was remarkably detailed, totally involving, and in the finale positively cataclysmic. The Philharmonia Chorus sang with highly charged fervour.
Richard Fairman, Financial Times

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Mahler - Symphony No.2 'Resurrection'
Royal Philharmonic Orchestra conducted by Vasily Petrenko
Royal Albert Hall, London, 22 March 2016
23 / 03 / 2016

..the Philharmonia Chorus were spectacular in the closing passages.
Gavin Dixon, www.theartsdesk.com

Petrenko was aided and abetted by the admirable Philharmonia Chorus
Jim Pritchard, www.seenandheard-international.com

The Philharmonia Chorus’s first entry was a miracle of quiet, extremely slow singing, their ensemble excellent, the German ‘sch’ sibilants not obtrusive.
Peter Reed, www.classicalsource.com

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John Powell - A Prussian Requiem - World Première
Philharmonia Orchestra conducted by José Serebrier
Royal Festival Hall, London, 6 March 2016 8 / 03 / 2016

Powell was honoured here by a première that could surely not have been improved upon.

The Philharmonia Chorus was excellent, responding to a composer who writes gratefully and knowingly for voices.

Robert Matthew-Walker
www.classicalsource.com

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Handel - Messiah
Orquesta de Valencia conducted by Stefan Bevier
Iturbi Hall, Palau de la Música, Valencia, 18 December 2015 11 / 01 / 2016

Probably last night's concert was the best of the entire season at the Palau de la Música.

If something enchanted for its quality and perfection, it was without doubt (and the audience promptly recognised it), the Philharmonia Chorus. In the good hands of Stefan Bevier and with excellent technical command, the four sections conveyed the protagonists with perfect details of execution, as well producing the most homogeneous fortes and the most subtle pianos, adding to the drama, the character, the expression, displaying perfect tuning, solidity, and showing a professionalism that left behind, by far, all the choirs we have seen during the season at the Palau.

Sixto Ferrero
La Veu, http://www.laveupv.com/17415
19 December 2015

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Mozart - Requiem
English Chamber Orchestra conducted by Robin Newton
Royal Festival Hall, London, 25 September 2015
29 / 09 / 2015

The outstanding Philharmonia Chorus sustained his ambition marvelously. Superbly drilled, they were crisp and incisive with the male voices particularly noteworthy. Their position on the upper tiers of the orchestral podium, rather than the vacant choir seats above them, enhanced an already intense interaction with the audience.
Martin Fraenkel, ionarts.blogspot.com

 

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Bruckner - Te Deum
Oxford Philomusica conducted by Marios Papadopoulos
Sheldonian Theatre, Oxford, 29 November 2014
6 / 01 / 2015

The Philharmonia Chorus were on fine form, their separate choral lines clearly etched in the more contrapuntal passages, and the ringing sonority of the upper voices in the bolder homophonic passages matching the blazing ranks of the brass instruments. Almost needless to say, the sopranos’ reaching up to the top C of the final climax was the magnificent apex of a fine performance.....

Curtis Rodgers, www.seenandheardinternational.com

 

2014 Reviews

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Mozart - Requiem
The Orchestra of Classical Opera conducted by Ian Page
Barbican, 8 October 2014
12 / 10 / 2014

Page had assembled a quartet of soloists fit to grace any opera stage; indeed, they invested their solos with a fervour that wouldn’t have been out of place in the opera house. Soprano Sophie Bevan and mezzo Sarah Connolly radiated light while tenor John Mark Ainsley was ardent and bass Darren Jeffery sonorous. Fine as they were, they were outshone by the Philharmonia Chorus, easily outnumbering the orchestral players and at times threatening to blast it from the stage. It sang with a lusty intensity that was at times overwhelming; if heaven wasn’t quite stormed, it wasn’t because of any lack of choral power.

Nick Kimberley, Evening Standard, 9 October 2014

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Mahler - Symphony No.2 'Resurrection'
Swedish Radio Symphony Orchestra conducted by Daniel Harding
BBC Proms, Royal Albert Hall, London, 29 August 2014
2 / 09 / 2014

The combined Swedish Radio Choir and Philharmonia Chorus was as responsive to the drama of the work as the orchestra. Its first entry was marked with a solemn, sepulchral hush, but still with wonderfully focussed tone quality.
Curtis Rogers - www.classicalsource.co.uk

The Swedish Radio Choir and Philharmonia Chorus were superbly focused, especially in their almost inaudible hushed singing.
Hilary Finch - The Times

The choral singing – from the combined forces of the Swedish Radio Choir and Philharmonia Chorus – was glorious in its warmth and fervour.
Tim Ashley - Guardian

The hushed voices of the Swedish Radio Choir and the Philharmonia Chorus were so well blended that their impact was enhanced: an image of vast panoramas and repose...
Anne Ozorio - http://www.operatoday.com

...the Swedish Radio Choir and Philharmonia Chorus were on fine form; one could have taken dictation from them.
Mark Berry - http://seenandheard-international.com

....the combined forces of the Swedish Radio Choir and the Philharmonia Chorus produced a magical sound, the rich timbre matched with impressively tight control for such a large vocal ensemble.
Jack Johnson - http://bachtrack.com

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Verdi - Messa da Requiem
Orquesta da Valencia conducted by Yaron Traub
Sala Iturbi, Palau de la Música, Valencia, 13 June 2014
17 / 07 / 2014

'The value of such a choir is unquestionable. Many fine choirs have sung at the Palau, but few like this one. The impact made by the interweaving of the one hundred plus voices in the Sanctus, for example – a combination of power and agility – was immediately exceeded by the lesson in clarity and purposefulness of phrasing in the Agnus Dei.'

Alfredo Brotons, Levante - El Mercantil Valenciano
15 June 2014

See and hear the 'Te Decet Hymnus' from this performance - click here.

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Brahms - Ein deutsches Requiem
Hamburg Symphony Orchestra conducted by Jeffrey Tate
Laeiszhalle, Hamburg, 22 and 23 March 2014
24 / 03 / 2014

Brilliant Brahms ...the 120 singers from London sang with such dedication that even the notorious 'Zischlaute' of the German language rang out with musical brightness'

'The brilliantly prepared chorus under Stefan Bevier carries the burden of the work. It was as if the members of the Philharmonia Chorus wanted to present their President, Jeffrey Tate, with a gift of joy with their resounding presence and vocal accuracy throughout. Even at full volume they never compromised the dignity of the work and had an impressive range of dynamics at their disposal.'

Hamburger Abendblatt, 24 March 2014

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Brahms - Ein deutsches Requiem
Philharmonia Orchestra conducted by Andris Nelsons
Royal Festival Hall, London, 23 February 2014
24 / 02 / 2014

'...many expressive nuances masterfully elicited from the Philharmonia Chorus..'
Curtis Rogers, www.classicalsource.com, 24 February 2014

'....the Philharmonia Chorus sang out with full-bodied resonance...
Jim Pritchard, www.seenandheard-international.com, 24 February 2014

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Poulenc - Gloria
Ravel - Daphnis et Chloé
Royal Philharmonic Orchestra conducted by Charles Dutoit
Royal Festival Hall, London, 12 February 2014
13 / 02 / 2014

'...and the Philharmonia Chorus, powerfully communicative, vibrant, and very together, continued its renaissance under the preparatory guidance of the estimable Stefan Bevier..'
Colin Anderson, www.classicalsource.com, 14 February 2014

 

2013 Reviews

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Verdi - Requiem
Philharmonia Orchestra conducted by Daniele Gatti
Royal Festival Hall, London, 20 April 2013
21 / 04 / 2013

An outstanding Verdi Requiem - 'Every once in a while, I hear a concert that grips me from the first note and doesn’t let go until the very last... When the chorus sang of trembling before the judge on judgement day, the sibilance of “discussurus” sent shivers up your spine.. I could name a dozen more instances where the word setting came through with extraordinary power... Throughout the work, the chorus produced a sensational amount of sound, doing so with clear diction and well defined variation of expression.'
David Karlin, www.bachtrack.com, 21 April 2013
★★★★★

Verdi Requiem specialists deliver a memorable performance - 'The Philharmonia Orchestra and Chorus phrased like the old alliance we know them to be from the days when Carlo Maria Guilini first brought a truly Italianate Verdi Requiem to the capital.'
Edward Seckerson, www.theartsdesk.com, 21 April 2013

'.....the response from the Philharmonia Chorus and Orchestra was beyond reproach, the Chorus continuing to benefit from Stefan Bevier’s preparatory skills.'
Colin Anderson, www.classicalsource.com, 21 April 2013

'The Philharmonia Chorus were on blistering form throughout'
Tim Ashley, The Guardian, 22 April 2013
★★★★

Daniele Gatti leads a tremendous Verdi Requiem '...the superbly balanced chorus gave the sense of something afoot that none could foresee... Krassimira Stoyanova attained some drama at the recited ‘Libera me’, before the chorus entered with its magnificent counterpoint – all parts clear, despite the massive numbers on display.'
Colin Clarke, www.seenandheard-international.com, 22 April 2013

'With their fine chorus, and under the baton of Daniele Gatti, the Philharmonia gave a grippingly coherent performance of Verdi's Requiem. The performance as a whole had a rare and concentrated focus.'
Hilary Finch, The Times, 23 April 2013

...this gripping performance...
Hugh Canning, The Sunday Times, 28 April 2013

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KingsCollegeCambridge_450.jpgHowells - Stabat Mater
BBC Concert Orchestra conducted by Stephen Cleobury
Chapel of King's College, Cambridge, 29 March 2013
16 / 04 / 2013

'The last of Howells three major works for chorus and orchestra, it is the least performed - but that might have something to do with its considerable challenges, spendidly met here. In particular, the score calls for a tenor soloist able to ride the chorus and orchestra with anguished cries, and John Daszak negotiated the high lines magnificently. The Philharmonia Chorus was equally powerful in its soul-piercing contributions.'

John Allinson, The Sunday Telegraph, 7 April 2013

 

2012 Reviews

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Beethoven - Symphony No.9 'Choral'
Philharmonia Orchestra conducted by Esa-Pekka Salonen
Royal Festival Hall, London, 27 September 2012
1 / 10 / 2012

'The performance only came fully to life in the vocal sections, thanks to the powerful, lusty singing of the Philharmonia Chorus, superbly trained by Stefan Bevier. Full-blooded and full-toned, the choristers provided the dynamism that had hitherto been lacking.'
Graham Rogers, www.classicalsource.com, 28 September 2012

'In the finale, the warm-throated Philharmonia Chorus stood rock-solid.'
Geoff Brown, The Times, 1 October 2012

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Berlioz - Roméo et Juliette
Philharmonia Orchestra conducted by Esa-Pekka Salonen
Royal Festival Hall, London, 26 September 2013
30 / 09 / 2012

'...the Philharmonia Chorus confidently started the season on top form.'
Richard Fairman, Financial Times, 30 September 2013
★★★★

...the chorus...achieved the desired hypnotic effect...superbly trained by Stefan Bevier.
Stephen Jay-Taylor, www.opera-britannia.com, 30 September 2013
★★★★

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Elgar - The Dream of Gerontius
Hamburg Symphony Orchestra conducted by Jeffrey Tate
Laeiszhalle, Hamburg, 16 September 2012
23 / 09 / 2012

'The 120 singers of the Philharmonia Chorus from London in which Tate himself sang as a young man, were capable of arousing goose pimples, not least by way of a magically quiet yet voluminous pianissimo, which one can usually only experience and hear from the very best professional choirs.'
Marcus Stäbler, Hamburger Abendblatt, 18 September 2012

'In some of the more restrained moments the Philharmonia Chorus produced the transparency and delicacy of a chamber choir; in the second part, where the really dramatic climaxes of the work are to be found, the chorus came through with a force that pierced bone and marrow.'
Die Welt, 18 September 2012

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Mahler - Symphony No.2 'Resurrection"
Philharmonia Orchestra conducted by Esa-Pekka Salonen
The Anvil, Basingstoke, 22 June 2012
25 / 06 / 2012

The chorus stood at the moment of greatest crisis as if appalled to survey the ensuing desolation before, almost beyond audible range, delivering its first, redemptive “Aufersteh’n”; this ‘Resurrection’ was a divine revelation.

Peter Reed, www.classicalsource.com, 25 June 2012

He could rely on ...... both vigorous and subtle singing from the Philharmonia Chorus.

George Hall, The Guardian, 29 June 2012 ★★★★★

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Britten - War Requiem
Philharmonia Orchestra conducted by Lorin Maazel
Royal Festival Hall, London, 25 March 2012
26 / 03 / 2012

'This controlled approach gave the Philharmonia Chorus ample opportunity to demonstrate their tonal flexibility and virtuosity, and passages such as the sudden transition from the Dies Irae to the long lines of the Lachrymosa, the dynamic articulation of the Offertorium with its machine-gun consonants, were impressively handled.

It closed with a radiant, impossibly well-tuned major chord from the choir'
Alexandra Coghlan, www.theartsdesk.com 26 March 2012

'The Philharmonia Chorus under Stefan Bevier produced a tremendous sound, the murmuring multitude of 'Pleni sunt coeli' and the astonishing long-held final 'Amen' being especially high points.'
Melanie Eskenazi, www.musicomh.com ★★★★

 

2011 Reviews

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Beethoven - Missa Solemnis
Orchestra of the Age of Enlightenment conducted by Gianandrea Noseda
Royal Festival Hall, London, 4 November 2011
5 / 11 / 2011

'The Philharmonia Chorus brought musicality, assurance and sheer stamina to what must be one of the most gruelling sings in their repertoire.

The performance was dedicated to the memory of Charles Mackerras, a much-missed conductor of both chorus and orchestra, and no stranger himself to taking the musical bull that is Beethoven by the horns. He would have been proud.'
Erica Jeal, The Guardian, 7 November 2011 ★★★★

'There was much to admire in this OAE performance with a very animated Gianandrea Noseda conducting. He had the advantage of the Philharmonia Chorus, astonishing here, its members fearless – sopranos especially unflinching – in meeting Beethoven’s cruel if life-enhancing demands.'
Colin Anderson, www.classicalsource.com, 5 November 2011

'To complete this unofficial Beethoven-fest, the Orchestra of the Age of Enlightenment performed the Missa Solemnis, vividly conducted by Gianandrea Noseda and gloriously sung by the Philharmonia Chorus.'
Fiona Maddocks, The Observer, 13 November 2011

'....the chorus magnificent....'
Paul Driver, The Sunday Times, 13 November 2011

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Frank Martin - Golgotha
BBC Concert Orchestra conducted by Stephen Cleobury
Chapel of King's College, Cambridge, 22 April 2011
26 / 04 / 2011

'....it was the austere grandeur of the choral writing, imposingly delivered by the Philharmonia Chorus, that made the biggest impact.'
Andrew Clements, The Guardian, 25 April 2011 ★★★★

'Some climaxes almost sent that fan-vaulted ceiling into orbit'
Richard Morrison, The Times, 25 April 2011 ★★★★

'.....the applause, now renewed, for the Philharmonia Chorus, and what a magnificent job they have done tonight.'
Catherine Bott, BBC Radio 3

 

 

2010 Reviews

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Beethoven - Symphony No.9
Orchestra of the Age of Enlightenment conducted by Ilan Volkov
Royal Festival Hall, London, 9 April 2010
Centro Cultural Miguel Delibes, Valladolid, Spain, 11 April 2010
12 / 04 / 2010

'Best of all was the Philharmonia Chorus, which sounded refreshed and invigorated by its gutsy, period-instrument Beethoven experience.'
Richard Fairman, Financial Times, 12 April 2010

'The Philharmonia Chorus......sounded here like a choir reborn'
Richard Morrison, The Times, 13 April 2010

'The Philharmonia Chorus were on cracking form'
Martin Kettle, The Guardian, 12 April 2010

'The movement was impelled with stirring clarity......the chorus masterful'
Paul Driver, The Sunday Times, 18 April 2010

'The Philharmonia Chorus brought vibrancy, bite and panache'
Anna Picard, The Independent on Sunday, 18 April 2010

'The most outstanding contribution of the evening came from the Philharmonia Chorus who sang with pin-point accuracy and gusto throughout, and they were rightly rewarded with the biggest ovation of the evening.'
Keith McDonnell, www.musicomh.com

'Volkov supo mantener la tensión necesaria hasta la llegada del último movimiento en el que la aportación del Coro Philharmonia fue sobresaliente. Sus voces exactas en impostación, estilo y afinación, marcaron con precisión el majestuoso presto con un cuarteto de solistas exquisito en el empaste, aún con las ya sabidas dificultades en la parte de la soprano.'

'Volkov maintained the required tension until the advent of the last movement, and the contribution of the Philharmonia Chorus was outstanding. Their voices, of exact placement, style and tuning, marked the majestic presto with precision with a quartet of soloists blending exquisitely, in spite of the well-known difficulties of the soprano parts.'
Emiliano Allende, El Norte de Castilla, 13 April 2010

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Symphony No.2, Mahler (Resurrection)
Philharmonia Orchestra conducted by Eliahu Inbal
Royal Festival Hall, London, 11 February 2010
8 / 03 / 2010

'The barely audible “shh” of the chorus in their opening “Aufersteh’n” and “Staub” were like puffs of wind lifting the music from mere mortality and toward the light, and the cymbal stroke and harp glissando at “Was entstanden ist” was hair-raising.'

Peter Reed, www.classicalsource.com

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Philharmonia Chorus Ltd, Registered Charity No. 250495

 

 

Aus: "Der Tagesspiegel" Mendelssohn-Bartholdy - Elias

 

...Nicht nur dramaturgisch, sondern auch stimmlich stand der Prophet an erster Stelle der Solisten. Stefan Bevier, ein Bariton mit großem Stimmumfang, sang ausdrucksstark, klangschön und mit dramatischer Begabung den umfangreichen Part des Elias.

 

Aus: "RIAS Berlin" Mendelssohn-Bartholdy - Elias

 

...Das große Talent des Abends aber war zweifellos Stefan Bevier. Was zeichnet einen Sänger von anderen aus? Zunächst einmal Präsenz, Ausstrahlung, die Fähigkeit, seine Partie über die Rampe zu bringen und glaubhaft darzustellen. Aber dazu benötigt man nicht nur Selbstbewußtsein, sondern auch eine Stimme, die trägt, die Volumen besitzt, die bis in die Pianonuancen hinein spürbar und hörbar intensiv bleibt. Über solche Tugenden verfügt Stefan Bevier, Preisträger mehrerer Gesangswettbewerbe.

 

Aus: "Berliner Zeitung" Haydn - Nelson-Messe

 

...Als spiritus rector hatte Stefan Bevier, ein musikalisches Multitalent mit Ausbildung in Gesang, Kontrabaß und Dirigieren (bei Sergiu Celibidache!), mit seiner auf Präzision bedachten Zeichengebung das Klanggeschehen jederzeit fest im Griff. Und er spornte dabei die begleitenden polnischen Philharmoniker, deren Chef er seit über einem Jahr ist, zu intensiver Mitgestaltung an. Daß er sie in ihrem orchestralen Abend-beitrag, Haydns 104. Sinfonie, aufgrund seiner Profession - zu der seit kurzem noch das Chordirektorenamt des Stadtsingechores zu Halle gehört - wie ein Kehlenkollektiv behandelte, versteht sich fast von selbst. Da sang und atmete die Musik in Ruhe, Ausgewogenheit, Intonationsreinheit und maßvoller Dynamik ihr klangreiches Lied. Tonwonnen, mit Beifall überschüttet.

 

Aus: "Der Tagesspiegel" von Hellmut Kotschenreuther

 

Frühlingssturm - Wroclaw Chamber Orchestra in Berlin
"... Die Qualitäten des Ensembles, so vor allem eine blitzsaubere Intonation und die Fähigkeit der Musiker, auch zunächst unwichtig scheinende Details präzise zu ziselieren, wurden zum temperamentvoll-umsichtig exponierten Klang schon bei der Wiedergabe von Vivaldis "Alla rustica", ... mit dem Bevier und sein umsichtig mitgestaltender Cembalist Martin Stephan die Veranstaltung im ausverkauften Kammermusiksaal eröffneten. ... Zum glanzvollen Höhepunkt wurden die Konzerte, die Vivaldi einst unter dem programmatischen Titel "Die vier Jahreszeiten" zusammgengefaßt hat .... Unter der zwischen Leidenschaft und Witz agierenden Dirigentenhand Stefan Beviers ... entfaltete das Werk seinen ganzen altvertrauten Zauber. Nachdem die Darstellung des Winters mit ihren klingenden Verbildlichungen ... verklungen war, brach im Publikum der Beifall mit der erfrischenden Unwiderlegbarkeit eines Frühlingssturmes los."

 

Aus: "Berliner Morgenpost" von Martina Helmig

 

Ein kleines Streichorchester spielte mit großer Klanggewalt
"Er tänzelt auf dem Dirigentenpodium, schwingt die Hüften, rührt und rudert mit den Armen. Der Dirigent Stefan Bevier wirkt wie ein temperamentvoller Animateur, der sein Team kräftig anfeuert. Die großen Gesten führen zu starken Ergebnissen. Das Breslauer Kammerorchester Leopoldinum läßt sich gern anspornen. Im Kammermusiksaal der Philharmonie spielt es so energiegeladen, wie man es nur selten hört. Selbst Mozarts gute alte, hunderttausendfach abgenudelte "Kleine Nachtmusik" bekommt wieder frische Farbe. Aus Beviers Interpretation spricht ein ungeheurer Gestaltungswille. Jede Phrase hat er mit den Musikern bis ins Detail durchgearbeitet. Nichts klingt beliebig....Mit quirligem südländischem Charme statten sie Hugos Wolfs "Italienische Serenade" aus. In Tschaikowskys Serenade treibt Bevier seine Musiker noch einmal zu Hochleistungen an. Das kleine Streichorchester entfaltet schwergewichtige Klanggewalten, zeigt sich dramatisch, elegisch, aber auch beschwingt im heiteren Walzertakt....Das Publikum im Kammermusiksaal amüsierte sich aufs beste."

 

Aus: "Berliner Morgenpost" von EvK

 

..Im zweiten Teil des Abends erklang Saint-Saens "Oratorio de Noel". Sänger, Chor und Orchester verschmolzen in diesem Konzert zu einer brillanten Einheit. Mit viel Applaus und Bravo-Rufen dankte das Publikum den Musikern die hervorragende Leistung.

 

Aus: "Berliner Morgenpost" Mozart - Requiem, EvK

 

...Bevier meisterte mit dem großen Ensemble die dynamischen Finessen bravourös. Die Instrumentalisten und Sänger von so unterschiedlicher Provenienz brachte er zu einem homogenen Spiel. Und darüber hinaus überzeugte er mit einer an Schattierungen reichen Interpretation, die seine Reputation als einer der besten Chorleiter und Dirigenten bestätigte.

 

Aus: „Berliner Morgenpost“

 

Erstaunlich, wie schnell sich die Könner an den einzelnen Pulten zu einem, klanglich vorzüglichen Ensemble zusammenfanden....Spritzig, schlank, klar und von Elan getrieben, begeisterte das Spiel vor allem durch sein Streben nach Perfektion und Brillanz. Zudem erwiesen sich die Musiker als ausgezeichnete Stimmungszauberer, die den einzelnen Stationen in Vivaldis Naturkalendarium nichts schuldig blieben....Es war ein Vergnügen, sich von dem ausdrucksstarken Musizieren des Festival Orchestra Berlin in Bann schlagen zu lassen.

 

Aus: "BZ" - Offenbachiade

 

...Bevier läßt die Musik kichern und kosen, tänzeln und trippeln, flirten und feixen. Can-Can-Fieber auf dem Podium, beste Laune im Parkett.

 

Aus: "Neue Zeit" Mozart - Requiem

 

...Stefan Bevier hat den Chor zu einem Ensemble von hohem Ausdrucksvermögen und für Laien erstaunlicher, stimmtechnischer Qualität und klanglicher Homogenität entwickelt ... Bevier bestach durch Souveränität und sorgte für einen beeindruckenden Abend.


Aus: "Daily Telegraph" Wagner - Parsifal/Royal Albert Hall at the Proms

 

... For the ... combined choruses of the Philharmonia and European Voices, no praise can be too high.


Aus: "Opera Magazine" Wagner - Parsifal/Royal Albert Hall at the Proms

 

... the performance of Act III was ... inspired ... and in the closing minutes the sense of the whole thing coming to a calm and exalted conclusion was quietly overwhelming, in large part thanks once more to the glorious choral contribution. This was a magnificent occasion...

 

 Brahms, Ein deutsches Requiem       

Saturday, 28th June 2008 Royal Festival Hall 
Lorin Maazel - Conductor
Heidi Grant Murphy - Soprano
Simon Keenlyside - Baritone

Stefan Bevier - chorus master, Philharmonia Chorus
Aidan Oliver - chorus master, Philharmonia Voices



"...Maazel's clarity of direction and long-sighted view of the work drew the best from a rigorously trained Philharmonia Chorus. Theirs was the might and the power to move: in the easeful breathing of the opening blessing for those who mourn, and on to the powerful shifts of tempo and pacing as they sang of withering grass and fading flowers."

Hilary Finch, The Times, 1.7.2008



"...Philharmonia Chorus... responded splendidly to Maazel's directions... well-deserved audience ovation."

Agnes Kory, www.musicalcriticism.com/



"Throughout the performance, the Philharmonia Chorus... sounded to be in exceptional form." 
Colin Anderson, http://www.philharmoniachorus.co.uk/content/www.classicalsource.com


Stefan Bevier dirigiert das Festival Orchestra Berlin in der Berliner Philharmonie 29.11.13

Molekulare Klänge aus Vivaldis Werken in der beeindruckenden Philharmonie

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