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Tenebrae transforms the Elbphilharmonie into a living instrument, exploring centuries of choral music through spatialised sound, Pärt’s tintinnabuli, Renaissance masterpieces and contemporary innovations in a vivid acoustic experiment.

Andrew Carwood and The Cardinall's Musick bring passion, vitality and grit to Tallis, and première a striking new piece by Cheryl Frances-Hoad in performances of the highest standard.

Ruth Mackenzie, Holland Festival’s vivacious and invigorating new director, closed her first edition with a twelve hour Prom, reinventing it as a mini-festival at Amsterdam’s Concertgebouw.

The Tallis Scholars have been one of the foremost Renaissance vocal ensemble since their inception forty years ago. This was the ensemble’s first visit to New Zealand (organised by Chamber Music New Zealand in partnership with the New Zealand Choral Federation and Dean Endowment Trust) and the performance quality made it worth every minute of the forty year wait.

Choral concerts often have programmes that read like compilation CDs. I don’t mean this negatively: there are countless reasons why a greater number of contrasting pieces is required – timbral, textual, temporal, contextual, historical, and so on.

The Brandenburg Choral Festival is an enormous endeavour, with hundreds of concerts all over London, featuring all kinds of choral music and a diverse range of performers. Tonight we were in the beautiful church of St Martin-in-the-Fields, the heart of the festival, for a late-night concert of stunning Tallis, Byrd and Allegri by candlelight.

I wasn’t sure, at first, how it would feel to listen to sacred Renaissance works in St. David’s Hall, a modern, secular concert hall. I wasn’t convinced that the beauty of these pieces and the compositional effects, so suited to the vaulted lofts of a cathedral, would carry over when so far removed from their original context.

A celebration of London with a tube map as a programme. What better way to celebrate 2012 and the coming of the Olympics? From Thomas Tallis’ Spem in Alium to Lionel Bart’s ‘Who Will Buy?’ from Oliver!, the night’s performance was not short of variety. It was clear that the conductor David Ogden had put great effort into the programme, and it was certainly worthwhile.

Au grand complet (49 chanteurs !), le chœur dirigé par Léo Warynski a proposé une sacrée odyssée aux spectateurs des Rencontres musicales de Vézelay, jusqu'à l'immense Concerto pour chœur d'Alfred Schnittke.