Press Reviews

Reviews taken from the Windsor, Slough and Eton Observer and the Windsor Express:

"After 35 years Ben Gunner is certainly not looking for the easy life with his admirable Royal Free Singers. The opening concert to their anniversary year programme was daunting in the extreme. It began with Arnold Bax’ Te Deum, written 1944/45. This proved to be an excellent opener, with its stirring organ introduction. The unaccompanied sections maintained pitch, and the choir attacked with vigour the repeated use of the word “praise”. As with other works on the programme Bax’ setting does not end with anti-climax on “let me never be confounded”, but brings a note of confident optimism. It was followed by Herbert Howells’ setting from Psalm 42. Well known in the Anglican cathedral repertoire the work oozes the characteristically melancholy style adopted by its composer, with rich harmonies accurately delivered by the choir.

Organist Stephen King then treated us to the Fantasia and Toccata in D minor, op. 57, written by Charles Villiers Stanford in 1894, a composer wrongly best remembered for his Anglican choral music. It opens much in the style of JS Bach but soon evolves into late German Romantic idiom, with a remarkably rewarding and virtuoso Toccata movement. The soloist gave a brilliantly authorative account, marred only by the inappropriately long breaks between sections to change the registration. The choir were then back again with Gerald Finzi’s “Lo, the full final sacrifice”, a difficult work, held together by the strong soprano line, though there was not always “truth in the inward parts”.

The second half began with Gabriel Fauré’s gentler early work “Cantique de Jean Racine”, confidently sung in French. The “March on a Theme of Handel” by the organ virtuoso Alexandre Guilmant is based on a popular chorus from Messiah. The conservative compositional style is married to some brilliant passagework for the organ, building up to an inexorable, stirring climax. Altogether different was the final “Messe Solennelle”, op 67 by another notable organ virtuoso Jean Langlais, written in1950. While the choir did battle with the difficult, unpredictable idiom of the piece, they tended to be overpowered by the savage weight of the organ. They were heard to advantage in the “Qui tollis” section of the Gloria, and in the remarkably full-blooded Sanctus. The concluding Agnus Dei is a surprisingly jubilant statement of faith, not the customary submissive prayer for peace.

Full marks to conductor, soloist and choir alike for an intrepid foray into the relatively unknown." - Derek McCulloch, Windsor Express
35th Anniversary Spring Concert
Bax, Finzi, Howells and Langlais
Windsor Parish Church, Saturday 15th March 2008

"With the Mozart Year 2006 now safely behind us, the indefatigable Royal Free Singers and their equally indefatigable conductor Ben Gunner could present an all-Mozart programme without fear of contributing to an overprovided market.

The opening item at Windsor Parish Church was the evergreen motet Ave verum corpus. The choir demonstrated an admirably controlled piano with secure, unsagging intonation – often a problem with large amateur choirs, but not so here – underpinned by strings and organ.

From the very opening Introitus (of the Requiem) the choir excelled, singing with verve, enthusiasm and accuracy. Just a few of the highlights from the choir worthy of mention were the menacing Dies irae, the resplendent Rex tremendis majestatis, the awesome crescendo on homo reus in the Lacrimosa, the contrasting dynamics on the Offertorium, the rhythmically exciting Quam olim Abrahae and last no least the confident delivery of the fugal writing in the Kyrie and again in the concluding number. The enthusiasm of the choir was clear to see in the high raked stand, an uplifting sight – and so infectious that the second trombone could be seen joining in the singing when she was no longer required to play.

Overall an evening of magnificent music, for which we are indebted to Ben Gunner and his Royal Free Singers, the choir of and for the town." - Derek McCulloch, Windsor Express
Mozart Requiem
Windsor Parish Church, 24th November 2007

"A little bit of Wales came to Windsor for the Royal Free Singers’ sell-out concert at the Parish Church on Saturday in the form of the ‘Fron’ Male Voice Choir. The Froncysyllte Choir have reached gold and platinum disc level with their recordings, and presented a wonderful evening alongside the local singers’ music in aid of Daisy’s Dream, a charity for bereaved children.

In spite of their long, wet journey, the lads from North Wales gave a rousing theme from Exodus as their opening number before moving into Welsh for lilting traditional airs, a natural follow-on from the Singers’ earlier Scottish and Welsh folk songs. The audience had really appreciated the Welsh language singing from Windsor soprano Sharron Bowen-Davies and the whole Royal Free Singers’ rendering of The Ash Grove (Llyn on) - “a very fair effort”, I heard one Welsh supporter say.

The Royal Free Singers, under their conductor Ben Gunner, then set the tone for an even livelier second half with music from the early thirties, with visions of Busby Berkley as the ladies almost danced as they sang so very much ‘beautiful music’, to quote the start of The Continental. A moving World in Union from the Fron choir included the words ‘Just to be the best I can sets the good for every man’, which got warm applause. Music from the shows and Mozart’s Trinkkanon displayed the Welsh voices to happy advantage before both choirs joined in roof-raising voice to sing Cwm Rhondda and the Welsh and English National Anthems." - Ann Seller, Windsor Express
RFS and Fron Summer Concert
Windsor Parish Church, 30th June 2007

"Large scale church music does not feature much in Beethoven’s output, and the work was coolly received at the time. That reaction is somewhat unjust. Although lacking, perhaps, the sheer effervescence of Haydn’s late Masses, it is solidly rooted in the Mass tradition of the classical period.

The choir certainly revelled in it, from the very opening, and the emphatic 'Christe eleison'. In the Gloria the choir again brought considerable life to the extended fugal section on “Cum sancto spritu”. In the Sanctus, fine singing was elicited from the choir at 'Pleni Sunt Coeli' and the 'Osanna'. This was a stirring performance, conductor and all the performers proving to be eloquent advocate of a work that is sometimes unjustly underestimated."
Beethoven’s Mass in C major
Windsor Parish Church, 31st March 2007

"AMERICA was timed for just before Independence Day and the choice of programme gave this essentially English choir a laser insight into a wide range of music from across the 'Pond'. From a sacred and joyous opening psalm they moved to the ringing tones and fierce rhythm of 'Hark! I Hear the Harps Eternal'. Next, and new to many in the audience, was the 'Shape-Note' style of singing from backwoods America, where music was notated by circles, squares and triangles – 'Star in the East', with its strident clangs and forceful grace notes almost hurt the ear with its primaeval ring.

An idyllic contrast was the deep-toned men-only rendering of a Robert Frost poem, - The Pasture, followed by 'The Storm is passing Over' (written by the composer of 'We Shall Overcome'). Suddenly the scores disappeared for the Gospel piece and joyful, swaying singers clapped as the music swelled – leading on to one of the high notes of the evening – 'The Battle Hymn of the Republic', whose hushed and distant marching tones led on to a mighty and glorious 'His Truth is Marching On'. Yet more thrilling moments came with the inspirational 'Elijah Rock' – a spiritual arranged in the traditional style by Moses Hogan, where basses and tenors set the rhythmic foundation for the moving melodies in the women’s voice and the whole leads to a brilliant final seven-part cry of ' I’m comin’ up Lord!'

Quiet contrast came again with the female voices singing 'The World is Full of Poetry'. Chart topping Eric Whittaker’s 'Sleep' was an uncanny glimpse into the dynamics of slumber, before the amazing 'happening' of 130+ Royal Free singers laughing, dancing, clapping and swaying to the gospel hymn 'Walk together, children….', and moving the audience to join in and make the whole place resound. We were then ready for the hoe-down fiddler leading into the hilarious 'Bile them cabbage down, boys' with its 'possums, racoons and old grey mules….' An altogether happy concert in the warm balmy evening – Dr Brad Holmes brought joy to audience and singer alike, giving us a taste of music which deserves to be shared more often – as the last item said 'If Music be the Food of Love sing on, sing on…..' "
America - A Concert for the 4th of July
Windsor Parish Church, 1st July 2006

"In the world of classical music, there are many great choral works that are so wonderful and powerful it is impossible not to be deeply affected by the emotional impact created by their performance.

Of these JS Bach's St Matthew Passion is nothing less than one of the most awe-inspiring masterpieces of all time. Being over three hours in duration it is the largest and most elaborate of all of Bach's choral compositions and demands the services of not only an organ continuo, two choruses and orchestras but also an independent chorus of 20 or more trebles, six principle vocal soloists and a further three soloists from within the main choruses. With so many participants involved, every presentation is a massive event requiring courageous dedication and positive commitment..... In this respect I have nothing but the greatest admiration for the leadership shown by Benedict Gunner, the superb conductor of the Royal Free Singers, his choir and his many guest musicians and vocalists for their highly emotional performance in the Eton College Chapel on Good Friday......

Overall this was a radiantly beautiful and heartfelt performance heightened so poignantly by many of the audience adding their voices with those of the Singers throughout glorious chorales of this almost fully operatic depiction of Christ's Passion. Rich moments such as these are so rare."
JS Bach's St Matthew Passion
Eton College Chapel - Good Friday, 14th April 2006

"Just three weeks after their performance in Antwerp and Eton of Brahms’ Requiem, the popular Royal Free Singers performed The Messiah in Windsor parish Church last Saturday and were a little hesitant to begin with – but by the time they reached For Unto Us a Child is Born, the full spirit and gusto we are used to had kicked in – a firm and majestic statement in words and music of Christ’s birth. The diction was clear and the old Maestro who had begun his career writing operas, would have been proud of them.

I felt quite excited when the ringing tones of the soprano – locally educated Karen Miles – led them into an inspiring Glory to God. Rebecca Kelly, a winner of a Kathleen Ferrier Trust award, called that great alto to mind with her deep and warm interpretation of Come Unto Him. The tenor, Ben Alden, set the scene with his unearthly and lilting arias and the bass, Andrew Ashwin, added an operatic fire to everything he sang.

Under Ben Gunner’s strong conducting, the orchestra and choir made the audience jump to their feet (as tradition demands, but this doesn’t always happen) at the first bars of the Hallelujah Chorus. But if Royal George stood up to start this custom back in 1742, he should have leapt up on to his seat to hear this choir’s final choruses and the great Amen. What a happy ending to a fine performance, leaving a feeling that the spirit of Christmas is around the corner."
Handel's Messiah
Windsor Parish Church, 3rd December 2005

"CHOIRS UNITE FOR REMEMBRANCE TRIBUTE
Poppies greeted the audience as they arrived at Eton's majestic School Hall for last Saturday's performance of Brahms' Deutsches Requiem. A moving introduction to the evening was given by John Regan, British Legion County Field Officer for Berkshire, and when the Rev. John Staples had introduced the Last Post and two minutes' silence, the ground was laid for an inspirational performance. Joined once again by the Koniklikje Chorale Caecilia from Antwerp, the Royal Free Singers (who had sung the same concert the previous Saturday in Belgium) produced seamless performance of two Belgina Motets - Laetatus Sum and O Beata Mater. What a pleasure to hear our home-grown diva, Susan Piggott, soaring gently over the quiet prayer for peace, and the modal tones of the psalm moving forward into a joyous full harmony. Europe was still licking its wounds form the revolutions of 1849 by the time Brahms started to write his Requiem eight years later. Steering away from the conventional Requiem, with its overtones of Wrath and Judgement, Johannes wanted to base his work on healing, comfort and hope - hence the use of his own language; he said he wanted to call it 'A Human Requiem'. The La Passione Orchestra, also from Antwerp, balanced the singers beautifully with their deep-toned violas, cellos and horns in the sombre opening, leading even more darkly to 'All flesh is as grass' in the second movement. Jeremy Andrews - a baritone with a frisson - almost moved to tears with his singing of 'I know that my life has a goal, and that it must come to an end'. The fugue in reply to this (der Gerechten Seelen) was taken up joyfully by the choirs, and from being initially overawed by the orchestra, they burst forth with a might and musically satisfying statement of hope. Calmed again by 'Ich will euch trosten' (I will comfort you like a mother), sung passionately by the soprano, the choirs brazenly took up the challenge of The Last Trumpet in the sixth movement before moving back to the quiet 'blessedness' of the finale. An evening of great music touched with the solemnity of the 60th anniversary of the ending of World War II, with the bursting of many coloured rockets outside the windows in exchange for the flashes of gunfire was part of the freedom so many gave their lives for." - Ann Seller, Windsor Express

"EVENING OF WONDER
Once gain we are well and truly in the debt of the Royal Free Singers of Windsor and their conductor, Benedict Gunner, for a very special presentation last Saturday that was absolutely magnificent. It came as no surprise that their concert to mark the 60th anniversary of the end of World War II, and in support of the Royal British Legion, with so many veterans in their midst, packed the school hall in Eton College to its limits - and rightly so. Many will have been the memories rekindled by this auspicious gathering and I feel sure this glorious concert will have created many new ones, especially with a welcome being given to the vocalists of the Koninklijke Chorale Caecilia from Antwerp, Belgium, uniting with Royal Free Singers to perform Brahm's stunningly beautiful German Requiem, with an accompaniment provided by the La Passione Orchestra, also based in Antwerp. Regarding their performance of an identical programme in Antwerp a week earlier, I have been well advised that it was of a superb quality in all respects, which describes to perfection the brilliant success of the joint-venture and its positive outcome. If only there could be many more. This was an evening when wonderful singing took precendence over everything. Brahms's popular Requiem, while so very demanding, is a lovely choral composition and illuminates so many of those radiantly lyrical melodies permanently glowing in every piece of the composer's music. With a joint choir of almost 200 and a 50-strong orchestra, the quality of their performance was absolutely breathtaking in every way, highlighting just about everything that fine music making is all about. And equally so was the contribution of its two well-chosen soloists, soprano Susan Piggott and baritone Jeremy Andrews. But glorious as the requiem may well have been, we were most certainly well and truly spoilt with the opening performance to this concert, by the joint choirs of two motets from their Belgium homeland - Jules van Nuffell's Laetatus Sum and with Susan Piggott's quite stunning participation, August de Boeck's O Beata Mater, both with an organ accompaniment provided by the conductor of the visiting choir, Paul Dinneweth. In addition, I understand that this wonderful evening raised over £1,000 for the Royal British Legion."- Roy McKay, Windsor Observer
Brahms' Deutsches Requiem
Eton College School Hall - Saturday 12 November 2005

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