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This most exquisitely refined of virtuoso medieval repertoires is phenomenally hard to sing convincingly and any successful rendition requires not only complete technical mastery but also the most self-effacing of team work, perfect intonation, historically informed pronunciation and a deep appreciation of the texts and their significance. That’s all there, nearly all the time, in this uncompromising programme of largely two-part textures, occasionally contrasted with a solo or three-voice work. It’s an oeuvre where there’s nowhere to hide. I found Christopher O’Gorman’s tenor, with a tonal spectrum wide enough to hold the interest without gilding the lily, particularly pleasing.

Rebecca Tavener Read the full review on Agora Classica

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Early Music Today, 2012 - ©Rhinegold Publishing