The Helsinki Chamber Choir (Helsingin kamarikuoro) was founded in 1962 as the Finnish Radio Chamber Choir and assumed its current name in 2005. It is currently Finland’s only professional chamber choir. The choir’s Artistic Director from 2005–2007 was Kimmo Hakola. Since 2007 Nils Schweckendiek has been responsible for the group's artistic planning.
When the historic Theatre du Chatelet in Paris re-opened after a period of extensive refurbishment, the first two productions mounted in the theatre were Gluck’s Alceste and Orphée et Eurydice.
Both operas were sung in their French versions and were mounted and designed by Robert Wilson and conducted by John Eliot Gardiner. This was the first time Wilson and Gardiner had collaborated and their individual credentials combined to produce an exceptional result.
Graham Ross concludes his exploration of music for the liturgical calendar with a programme focusing on the Holy Trinity, as reflected in music of the Russian and British traditions. From the works of the New Russian Choral School led by Tchaikovsky to more modern pieces such as those of Britten, with excursions into the Renaissance and contemporary creation, Graham Ross skilfully brings out the multiple correspondences between the choral traditions that have become established over the centuries around the mystery of the Trinity.
Rebelling against the increasingly formulaic operas of the time, Christoph Willibald Gluck's "reformist" opera Alceste (1767) was a successful attempt to return to a purer form of musical drama. It is highly appropriate that this 1999 production of the revised 1776 Paris version should be conducted by Sir John Eliot Gardiner, with the English Baroque Soloists and Monteverdi Choir, the same forces responsible for many fine Bach performances equally emphasizing character and text. In setting the tragic story of the profound love between Queen Alceste and her husband King Admète, Gluck provided a score of austere, rending beauty.
Of all the nearly forgotten music by Mendelssohn, the most nearly completely forgotten is his music for chorus. Only his songs come close to being as almost entirely ignored, but because a few of them have earned a place in the recital hall, even they have a more prominent place in the repertoire. This 10-disc Brilliant set of Mendelssohn's complete choral works featuring the Chamber Choir of Europe under Nicol Matt addresses this problem even though it may not solve it. The performances are uniformly excellent. The Choir has a smooth tone and superb diction and Matt elicits from them polished balanced and ardent interpretations.