Ahead of his Australian tour, British organist James O’Donnell tells Jansson J. Antmann how he keeps the repertoire fresh.

The editors of Limelight share their selection of the most exciting classical music, opera and theatre events coming soon.

A new, world class instrument at the heart of St James' is about to be put through its paces.

Handel’s tree-hugging despot enjoys a lively new outing, the Philly aces Rachmaninov, Christian Li explores Mendelssohn, and Offenbach’s Peruvian soufflé fizzes with fun.

Powerful performances as O’Donnell’s Westminster recording odyssey comes to a close.

The Choir's Music Director talks about their latest album, Limelight's Recording of the Month for April.

An exhilarating program of 21st-century church music from a choir in top form.

Given the considerable skill of the abbey choir, it is a pity that Bax’s greatest choral achievement, Mater Ora Filium wasn’t included.

While commemorations of the Word War I centenary continue, James O’Donnell and his Westminster Abbey forces perform music associated mainly with other conflicts to remind us of the horror and folly of war. Taking up the lion’s share of this disc is Maurice Duruflé’s Requiem in its medium-sized incarnation for choir, orchestra, organ and soloists. Hyperion’s engineers have done a splendid job in balancing the relatively small choir against the orchestra in the abbey’s cavernous acoustics. Duruflé’s sincerity shines through his heartfelt score and O’Donnell elicits a very moving performance from all concerned, including soloists Christine Rice and Roderick Williams. English composers feature in the rest of the program. Vaughan Williams’s Lord, thou hast been our refuge is a poignant reaction to his first-hand experience of the so-called Great War, while Howells’s Take him, earth, for cherishing evokes the tragedy of President Kennedy’s assassination. Philip Moore’s Three Prayers of Dietrich Bonhoeffer are thoughtful and effective settings of the German pacifist pastor who was executed by the Nazis. John Tavener’s The peace that surpasseth all understanding forms the powerful conclusion to the program. Commissioned by the Abbey to commemorate the… Continue reading Get unlimited digital access from $4 per month Subscribe…

Although modern British society is these days avowedly multicultural and secular, it only takes a royal wedding or funeral for millions to tune in and get a dose of good old-fashioned Anglican culture. Arguably, the most memorable element of these services is the hymn singing, where the great and good let rip whilst the choir and organ contribute soaring descants. Such occasions are vividly evoked with this selection of favourites. Vaughan Williams’ arrangement of the Old Hundredth is an obvious curtain raiser and before we reach the rousing finale of Jerusalem, we encounter such beloved items as The Lord’s my shepherd (sung at the Queen’s wedding) and Love divine, all loves excelling in the fine arrangement O’Donnell made for the most recent royal wedding. The absence of a congregation allows for slightly faster tempos and more creative treatments than would otherwise be possible. One such example is Robert Quinney’s idiomatic arrangement of the title track. Quinney delights in adorning Handel’s tune with as many accented dissonances as possible. The result is delicious. I heard the voice of Jesus say and Let all mortal flesh keep silence also receive atmospheric renderings. As usual, O’Donnell draws the very best singing from his choristers……