Hyperion
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Handel: Alexander Balus
Lynne Dawson (soprano), Michael George (bass), Catherine Denley (contralto), Charles Daniels (tenor), Claron McFadden (soprano)
The King's Consort, Choir of The King's Consort, New College Choir, Oxford, Robert King
Alexander Balus has never been one of Handel's more popular oratorios. That's mainly because its plot is by modern standards lacking in drama and motivation, and accordingly doesn't call forth... —
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Outstanding' —
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Monteverdi: Madrigals of Love and Loss
Thomas Walker (tenor), James Gilchrist (tenor), Katherine Watson (soprano) & Anna Dennis (soprano)
Arcangelo, Jonathan Cohen
These are not easy pieces, but the opening ballet swings along with panache, and there is some excellent tenor solo singing in the first section. —
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The English Hymn - 1
Christ Triumphant - Great hymn tunes of the twentieth century
Rupert Gough (organ)
Wells Cathedral Choir, Malcolm Archer
The time spent listening to it has been delightful. Tone, enunciation, resourcefulness of arrangement and accompaniment, all are exemplary —
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Mary and Elizabeth at Westminster Abbey
Sisters in Hope of the Resurrection
The Choir of Westminster Abbey, James O’Donnell
The brilliance of the programming matches that of the singing. By ranging lesser-known works, such as Mundy's, alongside familiar music such as William Byrd's anthems, we can appreciate how... —
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The Yale Schola Cantorum comprises roughly 30 singers and a dozen instrumentalists, but they sound light and bright nonetheless. They make a fine impression in the opening Hodie Christus natus... —
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Conductus, Vol. 2
Music & poetry from thirteenth-century France
John Potter (tenor), Christopher O'Gorman (tenor) & Rogers Covey-Crump (tenor)
spreading these different performances across the disc makes for a varied musical experience while leaving the opportunity for listeners who want to study more to compare the versions more directly. —
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Michael Head: Songs
Ailish Tynan (soprano), Catherine Wyn-Rogers (mezzo-soprano), Roderick Williams (baritone) & Christopher Glynn (piano)
Head created the most inventive and sympathetic writing for voice and piano, in asymmetrical, free-flowing, artful settings of poets such as Walter de la Mare, John Masefield and Christina Rossetti.... —
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Conductus, Vol. 3
Music & poetry from thirteenth-century France
Conductus: John Potter, John Potter (tenor), Christopher O'Gorman (tenor), Rogers Covey-Crump (tenor)
John Potter, Christopher O'Gorman and Rogers Covey-Crump once again endorse their awesome reputation as unchallenged singers of this repertory —
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These are altogether lively and alert performances, with repeats imaginatively varied, and a real feel for the subtle balance of the music. —
