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Berlioz: L'Enfance du Christ, Op. 25
RecommendedVéronique Gens (Marie), Alastair Miles (Herod/Ishmaelite Father), Yann Beuron (Narrator), Stephan Loges (Joseph)
Swedish Radio Symphony Orchestra & Chorus, Robin Ticciati
Beuron, still probably France's finest lyric tenor, a compelling Recitant with open, ardent tones and warm delivery...Miles is a splendidly anguished but restrained Herod and benign Ishmaelite,... — More…
Awards:
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Presto Recording of the Week, 2nd December 2013
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Offer,
Philippe Rogier: Music from the Missae Sex His Majestys Sagbutts and Cornetts & Magnificat, Philip Cave
The Council of Trent would have been pleased: with just two voices per part, and with clear diction and articulation from the members of Magnificat, the texts are generally easy to follow. The... — More…
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Alpha & Omega: Choral Music by James MacMillan
Madeleine Mitchell (violin)
Cappella Nova, Alan Tavener & James MacMillan
Cappella Nova make James MacMillan's Missa Dunelmi sound much easier to sing than it is, and that's a compliment...Perhaps it helps having MacMillan himself directing: it's interesting his default... — More…
Awards:
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BBC Music Magazine, February 2014, Choral & Song Choice
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Phantasm is simply the best viol consort around...the all-male choir...has some good individual singers, at their best in the ingenious Down Caitiff Wretch and the exuberant This is a Joyful,... — More…
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Haydn: The Creation
(sung in German)
Amanda Forsythe (soprano), Keith Jameson (tenor) & Kevin Deas (bass-baritone)
Boston Baroque, Martin Pearlman
[a] clean account, nicely scaled and finely balanced...There's skilful work throughout from the three soloists...Pearlman displays a keen sense of the music's shape and encompasses its range... — More…
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The subtle hues of the choir, an elite corps from Winchester Cathedrals, are particularly impressive in Byrd's Lamentation, a piece in which voicing gives the music its momentum. Yet the beauty... — More…
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Haydn: Lord Nelson Mass
Mary Wilson (soprano), Abigail Fischer (mezzo-soprano), Keith Jameson (tenor) & Kevin Deas (bass-baritone)
Boston Baroque, Martin Pearlman
this new account opens with impact, even if the florid upper strings occasionally have to struggle against the implacable tirades of chorus, trumpets and drums. And the quartet of soloists led... — More…
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