Brahms Requiem - 2024
The following is from the Edinburgh Music Review written by Donal Hurley:
"As a performance of a masterpiece, this was undeniably spellbinding. The chorus and soloists sang their hearts out and the instrumentalists did their level best with what they had been given." Read the full review here.
The following is from Vox Carnyx, written by Keith Bruce:
"With a concert of Christmas music next month before its annual Messiah in the Usher Hall, the Edinburgh Royal Choral Union is a busy choir over the coming weeks. The headline work in this concert was Brahms’ German Requiem, but it was preceded by two pieces that spoke of a venerable 166-year-old institution far from content to rest on its laurels (and that perennially popular New Year event)." Read the full review here.
"As a performance of a masterpiece, this was undeniably spellbinding. The chorus and soloists sang their hearts out and the instrumentalists did their level best with what they had been given." Read the full review here.
The following is from Vox Carnyx, written by Keith Bruce:
"With a concert of Christmas music next month before its annual Messiah in the Usher Hall, the Edinburgh Royal Choral Union is a busy choir over the coming weeks. The headline work in this concert was Brahms’ German Requiem, but it was preceded by two pieces that spoke of a venerable 166-year-old institution far from content to rest on its laurels (and that perennially popular New Year event)." Read the full review here.
On Grief and Hope - 2024
The following is from the Edinburgh Music Review written by Brian Bannatyne-Scott.
"A Triumph!
"This was one of my favourite concerts of the year so far: the Scottish premiere of a new choral work by Richard Blackford, ‘Pietà’, a setting of the Stabat Mater with the addition of two poems by the Ukrainian poet, Anna Akhmatova, and a stunning performance of Mozart’s fabulous Requiem.
"The Choral Union sang wonderfully – it is a real treat to have such a good choir in Edinburgh
"All in all, this was a brilliant concert, in a lovely, packed venue, on a beautiful early summer evening."
You can read the full review here.
"A Triumph!
"This was one of my favourite concerts of the year so far: the Scottish premiere of a new choral work by Richard Blackford, ‘Pietà’, a setting of the Stabat Mater with the addition of two poems by the Ukrainian poet, Anna Akhmatova, and a stunning performance of Mozart’s fabulous Requiem.
"The Choral Union sang wonderfully – it is a real treat to have such a good choir in Edinburgh
"All in all, this was a brilliant concert, in a lovely, packed venue, on a beautiful early summer evening."
You can read the full review here.
Messiah 2024
From Vox Carnyx
"The choir was impressively responsive to the dynamic instructions of Chorus Director Michael Bawtree throughout, with moments like the unaccompanied “the iniquity of us all” at the end of Part 2’s sequence of choruses and the crisp His Yoke Is Easy that ended Part 1 especially good from the number of singers onstage. The 40 sopranos were as cohesive a unit as the dozen tenors and the whole choir’s diction was excellent from the start."
"..it was good to see the capital’s big hall well filled for a heritage event that now vies for attention in the city’s packed Hogmanay festival schedule."
Review by Keith Bruce. The full review can be found on the Vox Carnyx website.
"..it was good to see the capital’s big hall well filled for a heritage event that now vies for attention in the city’s packed Hogmanay festival schedule."
Review by Keith Bruce. The full review can be found on the Vox Carnyx website.
From The Edinburgh Music Review
"This is the third time I have reviewed the ERCU New Year ‘Messiah’, and I have to report it is still in excellent health."
"It was a most satisfying concert, much appreciated by the large audience which had turned out on a somewhat dreich January day at 12 noon."
"The chorus was in fine fettle, although this year I thought Michael Bawtree pushed his choir to the limits with his fast speeds."
"There is no doubt whatsoever that he has coached his choir excellently, and they sing with great gusto, but also refinement!"
"It was good to see a nice mix of age groups in the audience for this ‘Messiah’. It’s clearly a fixture of Edinburgh cultural life, and long may it continue!"
Review by Brian Bannatyne-Scott. The full review can be found on the Edinburgh Music Review website.
"It was a most satisfying concert, much appreciated by the large audience which had turned out on a somewhat dreich January day at 12 noon."
"The chorus was in fine fettle, although this year I thought Michael Bawtree pushed his choir to the limits with his fast speeds."
"There is no doubt whatsoever that he has coached his choir excellently, and they sing with great gusto, but also refinement!"
"It was good to see a nice mix of age groups in the audience for this ‘Messiah’. It’s clearly a fixture of Edinburgh cultural life, and long may it continue!"
Review by Brian Bannatyne-Scott. The full review can be found on the Edinburgh Music Review website.
Festive Fanfare, November 4
Our Festive Fanfare concert on 4 November, with music for choir, organ and brass by James MacMillan, John Rutter, Vaughan Williams, Vierne and Bruckner, was well received by the audience. We lifted the roof off Greyfriars Kirk! Here is some of the audience feedback we received that evening:
“The percussion and brass were spectacular!” “Fantastic and hair-raising!” “ERCU and Michael Bawtree are excellent—a privilege to hear them.” “It was phenomenal!"
“The percussion and brass were spectacular!” “Fantastic and hair-raising!” “ERCU and Michael Bawtree are excellent—a privilege to hear them.” “It was phenomenal!"
The Music of Lord of the Rings, Game of Thrones and Beyond
We greatly enjoyed taking part in what was described as an “unmissable concert” at the Usher Hall promoted by Raymond Gubbay Ltd, featuring “epic and inspirational music” from TV, film and fantasy including Lord of the Rings, Game of Thrones, Star Wars and more. Accompanying us was the Scottish Concert Orchestra, with a huge percussion section; the conductor was Toby Purser, head of conducting at the Royal College of Music. Our tenor scholar, Grant Haddow, gave a fantastic performance as soloist in the catchy “Toss a coin to your witcher”. A packed house and a standing ovation at the end resulted in a wonderful evening for all. (September, 2023)
Summer Concert 2023
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The following is a short extract is taken from the review in Vox Carnyx written by Keith Bruce. Follow this link to see the full review.
"... the ten-minute piece [Cantemus Igitur] remained unperformed until Saturday, when the Edinburgh Choral and its director Michael Bawtree, gave a very robust and full-voiced account of a piece that sounds well worth a place in the repertoire of many amateur choirs, and within the capabilities of many. If there are any difficulties with it securing further performances they are more likely to stem from the orchestral score, which is rhythmically complex, but was very securely performed here by freelance ensemble the Edinburgh Pro Musica Orchestra, led by Gina McCormack and with a few well-known faces in the ranks." |
Rory Boyle
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Spring Concert 2023
From Edinburgh Music Review
A short extract of this review is below. You can read the full review here.
"this concert, which was very well attended, can be judged a success, and it was certainly splendid to hear a new work that I predict will become a staple of choral societies in the future. The Choral Union was in fine voice, and it was good to see so many young singers taking part. "
"this concert, which was very well attended, can be judged a success, and it was certainly splendid to hear a new work that I predict will become a staple of choral societies in the future. The Choral Union was in fine voice, and it was good to see so many young singers taking part. "
Messiah 2023
Two sparkling reviews for our performance.
From Edinburgh Music Review
The following is a short extract from this fulsome and knowledgeable review. Read the full review here.
"The soloists, as I wrote earlier, were all young professionals, and I was delighted to see three Scots in an all British line-up –a tip for the SCO and RSNO that this is what we should be hearing more often.
"I felt the ladies yesterday had a slight edge in the performance, but all four were excellent.
"As for the Edinburgh Royal Choral Union, they are on fine form at the moment, expertly trained by Mr Bawtree, with strong voices throughout the four parts. The tenors, usually a problem for amateur choirs, held their own impressively, only tiring slightly at the end. All the parts sang with precision and gusto, and coped admirably with Sir James’ tempi. It can be a problem nowadays, with the fashion for fast tempi, that an amateur choir can’t keep up with some of the runs, but that was not the case here, and there was a rousing cheer for the choir at the end.
Many congratulations to the organisers for filling the Usher Hall, and to the performers for filling the hall with marvellous music. Handel’s masterpiece is one of the wonders of music, and it was well-served by ERCU and the other performers. Here’s to next New Year!
"The soloists, as I wrote earlier, were all young professionals, and I was delighted to see three Scots in an all British line-up –a tip for the SCO and RSNO that this is what we should be hearing more often.
"I felt the ladies yesterday had a slight edge in the performance, but all four were excellent.
"As for the Edinburgh Royal Choral Union, they are on fine form at the moment, expertly trained by Mr Bawtree, with strong voices throughout the four parts. The tenors, usually a problem for amateur choirs, held their own impressively, only tiring slightly at the end. All the parts sang with precision and gusto, and coped admirably with Sir James’ tempi. It can be a problem nowadays, with the fashion for fast tempi, that an amateur choir can’t keep up with some of the runs, but that was not the case here, and there was a rousing cheer for the choir at the end.
Many congratulations to the organisers for filling the Usher Hall, and to the performers for filling the hall with marvellous music. Handel’s masterpiece is one of the wonders of music, and it was well-served by ERCU and the other performers. Here’s to next New Year!
From The Herald
The following is copied from the Herald review, the full text of which can be viewed here.
"To differing degrees, however, that freshness of approach ran through every element of MacMillan’s first Messiah, on which his careful shaping of the instrumental music, from the opening Sinfonia onwards, was matched by very precise dynamic control of the chorus. The choir is currently on very fine form indeed, the sopranos a beautifully clear integrated ensemble and the tenors carrying their line with a power that belied their fewer numbers but never sounded strained.
"This was the new generation of young voices, bringing a light touch to a venerable work that is a staple of the capital’s calendar, reflected in the younger singers who have joined the choir and younger freelance players in the orchestra. The conductor could not have made his Messiah debut in finer company.
"To differing degrees, however, that freshness of approach ran through every element of MacMillan’s first Messiah, on which his careful shaping of the instrumental music, from the opening Sinfonia onwards, was matched by very precise dynamic control of the chorus. The choir is currently on very fine form indeed, the sopranos a beautifully clear integrated ensemble and the tenors carrying their line with a power that belied their fewer numbers but never sounded strained.
"This was the new generation of young voices, bringing a light touch to a venerable work that is a staple of the capital’s calendar, reflected in the younger singers who have joined the choir and younger freelance players in the orchestra. The conductor could not have made his Messiah debut in finer company.
Messiah 2022
We received a wonderful review in the Edinburgh Music Review by Brian Bannatyne-Scott. Below is an extract but you can read the full review here.
"Let me say, categorically, that this was one of the best ‘Messiah’ performances I have ever heard, and huge congratulations must go to all those involved.
"Conducted with flair and elan by Michael Bawtree, and with four exceptional young Scottish or Scottish-based soloists, this was a performance to savour, and it was greeted at the end by huge cheers and bravos.
"The Edinburgh Royal Choral Union was arrayed in the choir gallery in nicely spaced order, above a small but hand- picked chamber orchestra, the Edinburgh Pro Musica Orchestra, who played throughout with great clarity. With John Kitchen at the harpsichord and Morley Whitehead at the organ, we had two of Edinburgh’s finest musicians in place, and Michael Bawtree, as conductor, controlled the performance from the podium.
"Preferring brisk tempi, but never too fast, the work sped along at Mr Bawtree’s urging, and there were none of the longueurs which can slow ‘Messiah’ down. Judicious cuts took us through the whole piece in two and a half hours, with a twenty minute interval, and the time flew by."
"Let me say, categorically, that this was one of the best ‘Messiah’ performances I have ever heard, and huge congratulations must go to all those involved.
"Conducted with flair and elan by Michael Bawtree, and with four exceptional young Scottish or Scottish-based soloists, this was a performance to savour, and it was greeted at the end by huge cheers and bravos.
"The Edinburgh Royal Choral Union was arrayed in the choir gallery in nicely spaced order, above a small but hand- picked chamber orchestra, the Edinburgh Pro Musica Orchestra, who played throughout with great clarity. With John Kitchen at the harpsichord and Morley Whitehead at the organ, we had two of Edinburgh’s finest musicians in place, and Michael Bawtree, as conductor, controlled the performance from the podium.
"Preferring brisk tempi, but never too fast, the work sped along at Mr Bawtree’s urging, and there were none of the longueurs which can slow ‘Messiah’ down. Judicious cuts took us through the whole piece in two and a half hours, with a twenty minute interval, and the time flew by."
Messiah 2020
2/1/2020
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5* Review in The Herald
... Using neither a baton or a score, the conductor [Jane Glover] is a Handel expert whose latest book is on the composer’s London years, and Edinburgh Royal Choral Union responded eagerly to her direction, with some fine quieter singing, consistent internal balance of the sections, and notable coherence in the sopranos, whose ensemble was acknowledged by Summerfield as well. The run of choruses at the start of Part Two were especially revealing, with a much less staccato approach to All We Like Sheep than is currently fashionable (and which has the unfortunate effect of stressing the last word of the phrase) making He Trusted In God, which follows a short tenor Recitative, much more emphatic in its absolutely necessary use of that approach. Details such as those made the 133rd annual New Year Messiah one that will stand out in this choir’s illustrious history. Read the full review in The Herald here. |
Jane Glover
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Mahler 3rd Symphony
8/11/2019
5 * review
We were proud to participate in this stunning performance of Mahler's third symphony played by the Prague Symphony Orchestra.
The ladies of the choir teamed up with the National Youth Choir of Scotland and singers from Edinburgh University Choir.
Read the full review here.
We were proud to participate in this stunning performance of Mahler's third symphony played by the Prague Symphony Orchestra.
The ladies of the choir teamed up with the National Youth Choir of Scotland and singers from Edinburgh University Choir.
Read the full review here.
Messiah 2019
2/1/2019
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A fabulous 4* review in The Herald
She may be petite, but soprano Rowan Pierce is evidently more robust than many sopranos. As she once again stepped in to replace an ailing colleague at a Scottish concert, her agent must surely be pointing out to choirs and orchestras that they’d save themselves a great deal of anxiety by simply booking her in the first place. ... There is a youthful look and sound to the whole tenor section of this chorus these days, more than making up for their comparative lack of numbers. Chorus master and conductor Michael Bawtree has his ensemble precisely drilled and there was always the feeling of power in reserve as the piece unfolded: the opening of Part Two’s And With His Stripes was, startlingly, almost sotto voce, and the closing bars of All We Like Sheep beautifully poised and paced. Read the whole review on the Herald website. |
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Messiah 2018
2/1/2018
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4* review in The Herald
See the original review here. Kicking off the new year in time-honoured tradition, the Edinburgh Royal Choral Union, accompanied by the Edinburgh Pro Musica Orchestra and John Kitchen on the organ, gave an uplifting performance of Handel’s Messiah in what was their 131st annual New Year’s concert. --- Performing this marvelous work every year, the choir must know every inch of the music inside out, and that is certainly what came across, with perfect balance between parts, crystal-clear diction and long melismatic passages tightly controlled. The quartet of soloists were equally rigorous in their portrayal of the piece. Showing a real talent for Oratorio, mezzo-soprano Judy Brown gave a heartfelt and compelling rendition of He was despised, the opening aria in part 2. Soprano soloist Susanna Hurrell brought a beautiful array of colour to I know that my redeemer liveth although her vibrato was a touch on the heavy side. Bass-baritone Tristan Hambleton sang with a rounded warmth, though was sometimes overshadowed by the orchestra, and tenor Elgin Llŷr Thomas gave clear and animated delivery. |
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Messiah 2017
2/1/2017
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4* review in The Herald
Read the full review here. This year’s performance contained many more musical bonuses as well, however, beginning with one of the finest editions of the scratch “Edinburgh Pro Musica Orchestra”: the oboes were Cath Earnshaw and Rosie Staniforth, by way of illustration. The musicians, conducted by chorusmaster Michael Bawtree and with John Kitchen at the organ, shone much new light on the work ¬– in Handel’s varied approaches to continuo, for example. Although a little ragged on either side of the interval on the tricky His yoke is easy and the opening of Behold the lamb, the chorus, augmented by two dozen guests from the Orkney Winter Choir directed by Glenys Hughes, were also on fine, poised, and measured form, all the way to the sopranos’ peal of bells on the closing Amen. |
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Messiah 2016
2/1/2016
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4* review – The Herald
... the 129th performance of Handel’s oratorio by the Edinburgh Royal Choral Union may be chiefly remembered for the debut of German baritone and BBC New Generation Artist Benjamin Appl, a real talent of power, confidence and exemplary diction who delivered his first aria, The people that walked in darkness, in Schubertian style and continued to treat the score’s most operative moments as Lieder. -- Amid such riches, “The Choral” still managed to shine in its own right, Evans encouraging the texture of the chorus over its power, and the singers responding with beautiful measured poised at the conclusion of the sequence of choruses in Part Two and again for Since by man in Part Three. Chorus-master Michael Bawtree was bolstering the tenor section, so wins credit for performance as well as the drilling. Click here to see the original review in the Herald. |
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Warsaw Philharmonic and ERCU
11/5/2015
5* Review
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Their Beethoven Nine was extraordinarily fresh: I actually felt I was hearing it for the first time. Kaspszyk’s pacey tempos were thrilling and exhilarating: the development section in the first movement seethed and went like the wind; in the pounding Scherzo I almost ducked as the rhythms flew off the page like bullets. The slow movement sang as it always does, with not one ounce of drag; and the fantastic, searing performance of the finale by the Edinburgh Royal Choral Union with four fine soloists and the Warsaw Phil felt like being there as the music was born. I found the whole thing totally cathartic.
Read the full review on The Herald’s website.
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Their Beethoven Nine was extraordinarily fresh: I actually felt I was hearing it for the first time. Kaspszyk’s pacey tempos were thrilling and exhilarating: the development section in the first movement seethed and went like the wind; in the pounding Scherzo I almost ducked as the rhythms flew off the page like bullets. The slow movement sang as it always does, with not one ounce of drag; and the fantastic, searing performance of the finale by the Edinburgh Royal Choral Union with four fine soloists and the Warsaw Phil felt like being there as the music was born. I found the whole thing totally cathartic.
Read the full review on The Herald’s website.
Edinburgh Royal Choral Union |
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