(Photo: The King’s Singers press)

The King’s Singers, a beloved ensemble, will be performing at NYC’s St. Bartholomew’s Church on February 4th at 7:30pm, and the Washington National Cathedral in DC on February 6th and 7th, 2026 at 7 p.m.

These will also be some of the last performances with first countertenor Patrick Dunachie (after 10 years in the group) and baritone Chris Bruerton (after 14 years in the group) prior to their retirement from the ensemble.

The following interview reminisces on the singing ensemble and what the future holds for Dunachie and Bruerton.

OperaWire: Please describe the styles of music you all often perform.

Patrick Dunachie & Chris Bruerton: We sing music from many different genres and eras. It’s always been a signature of our group that we look for amazing music in all different styles, so most of our concert programs cover medieval and renaissance music right through to folk songs, jazz and pop songs.

OW: How did you both decide to be part of this wonderful group?

PD & CB: We were both lucky enough to get invitations from the group to come for an audition. Being involved with the (rather small) freelance singing world in the UK, our names were suggested when our predecessors were preparing to step down, and we had the chance to audition. The rest, as they say, is history. But it’s certainly an unforgettable moment getting that email which leads to a whole new chapter in your life: almost like a Hogwarts letter. And we had both been big fans of the group since we were young, so that made it even more surreal! 

CB: I was singing in Oxford when I received an email out of the blue inviting me to audition. I’d moved over from New Zealand a year earlier so was enjoying finding my feet, singing with anyone and everyone, paid or unpaid, to get my name out there. Someone heard me and recommended me to The King’s Singers (TKS) so I was delighted to be given a chance to audition. I was content just doing one round of auditions as I would always be able to say I’d sung with TKS once so it was an absolute thrill to be offered the job!

OW: What are your favorite signature pieces?

PD: My favorite has to be “And so it goes” – it’s the group’s most famous close harmony arrangement, and when we start to sing it in a concert, you can often sense the audience sitting forward in their seats to soak up every word and chord. It’s a beautiful song by Billy Joel, and our version is the perfect a cappella treatment (by our former tenor Bob Chilcott).

CB: Anything from our Jazz repertoire. The Great American Songbook album was the first major project we did during my time where I felt I was an equal in the group. “Bewitched, Bothered and Bewildered” is very special to me. I secretly wish I’d been Frank Sinatra in another life!

OW: What are some of the more difficult works you’ve sung over the years?

PD: Commissioning new music from composers is a really important part of what we do, and is a tradition our group has been proud of since its earliest days. As a result, our library is full of some really complex contemporary music! One of the hardest pieces is something we’ve just recently re-learned: “Cries of London” by the Italian avant-garde composer Luciano Berio. The score is handwritten, and in certain places the vocal effects are seriously complicated and took a lot of rehearsal to get right!

CB: There’ve been a few, but top of the list is György Ligeti’s “Nonsense Madrigals,” followed swiftly by Luciano Berio’s “Cries of London.” 

OW: I assume you all have perfect pitch. Is that essential for your performances?

PD: We don’t! In fact, right now none of us in the group technically has perfect pitch (although we all have a good sense of pitch, and strong musicianship). Being able to pick a note out of thin air is a remarkable skill, but it’s actually surprisingly unhelpful in our line of work. We’re often singing music at altered pitches – so that the notes on the sheet music are not the same as the ones we’re actually singing – so not being tied to perfect pitch is actually a blessing!

CB: We don’t all have perfect pitch and, to be honest, I’m not sure it’s as important as people might think. Having relative pitch and a keen sense of listening is more important, I think. Ensemble singing isn’t about being right or wrong; it’s about being together. If the whole ensemble moves in any direction, be it vertically (intonation), horizontally (tempo) or what have you, the most important thing is to do it collectively. 

OW: What else do you enjoy doing when you are not singing? Sports? Writing? Teaching?

PD: Professionally, being in The King’s Singers is our full-time job, and takes up a huge amount of our time! So, we don’t do supplementary jobs outside of it. However, we do all have hobbies and passions! For me, cooking is my favorite way to relax and enjoy downtime; between tours, I love to cook for my wife and friends, experimenting with new recipes and cuisines which I’ve experienced on tour around the world.

CB: I love spending quality time with my wife Liz, cooking, gardening, running, working out with my PT and seeing friends and family.

OW: Have you decided what’s next?

PD: Not quite yet! I have a few ideas about some of the things I’d like to do, including record producing, but the first port of call is to have some time to reconnect with my wife, friends and family, process and reflect on ten years of global touring, and enjoy walking my dog Albie every morning!

CB: I’m keen to keep singing, teaching, mentoring, guest conducting and hopefully get into record producing. The key for me in my next chapter is finding a different balance so I’m not living out of a suitcase 200 days a year! Something I care deeply about is culture. Helping musicians, individuals, small ensembles, arts organizations or similar create an environment where everyone gets the best out of one another is hugely important to me so I look forward to doing that work especially.

OW: Do you perform for young audiences, since it is so important to connect with them through live music, the joy of music and non-electronic music? 

PD & CB: We love to perform for young audiences. All over the world, classical music is attracting primarily older demographics, but we hope that our open-minded, playful and experimental approach to what we sing – along with our commitment to social media – mean that our concerts attract quite a wide variety of people including lots of younger folk. In the digital age, I think there is a particular joy and magic to witnessing the discipline and craftsmanship of six people standing in a room (with no technological help) simply listening to each other and singing as one.

OW: Where is your favorite place to perform?

PD: I couldn’t name a single favorite venue, but in general I do love singing in an ancient church. When we tour in Europe, we can often find ourselves in beautiful medieval chapels, abbeys and cathedrals, and for me those concerts can be some of the most special. The acoustics of those ancient buildings are designed for singing, so it also makes our job a little bit easier!

CB: A difficult question! We’ve been so lucky to perform in most of the world’s premier venues but I think one of my favorites has to be Carnegie Hall in NYC. It’s iconic and just thinking of everyone who’s been on that stage makes me very proud to be able to add my name to that list.

OW: How do you pass your art on to others?

PD: We are lucky that as members of The King’s Singers we will leave a legacy of recordings and videos which will last forever. Not many people get that privilege in their work, and in turn we were the beneficiaries of previous generations of King’s Singers recordings. But teaching is also such an important part of this. The work of our King’s Singers Global Foundation has created some of the most special and memorable moments in the last decade. We give choral training to choirs all over the world who normally don’t get that kind of opportunity, and seeing the impact of that work on young keen singers is truly special.

CB: Sharing openly and lifting others up. I’ve always thought I mustn’t ever be selfish with all this knowledge and experience I’ve gained doing this incredibly privileged job. The time now is to give back and I also think The King’s Singers Global Foundation can play an increasing role with that. As I’ve travelled, I’ve realized more connects us than disconnects us so I’m excited to continue to find harmony wherever I go with whoever will listen!

OW: Thank you so much for your responses to my questions. With all good wishes for your future and next steps in life and your careers. I’m sure it will be rewarding and fulfilling. You have given so much to your audiences throughout the world. Your fans are deeply grateful to you for your artistry and commitment to music and art.