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Brandenburg Concertos - Review Music Web International

10 December 2013

'If you love these works, you'll be entranced by the excellent quality of the Dunedin Consort and the warm listening experience'

Full Review

Kirk McElhearn

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The Arts Desk - Bach Brandenburg Concertos Review

25 October 2013

Butt's impeccably prepared Bach tastes more like a warming bowl of chocolate

Full Review

by Graham Rickson 

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Bangkok Post - Brandenburg Concertos Review

04 October 2013

[High Resolution Download Version Review]

You say that, as a classical collector, there are at least 74 recordings that you need to buy before investing in yet another version of Bach's Brandenburg Concertos? That you already have a version of choice (possibly Alessandrini's or Gardiner's most recent account), or maybe several, that aren't likely to be superseded in your affections any time soon?  Listen to a few excerpts from this set on the Linn Records website and you may decide that there is still room on your culture shelf for one more set. 
 
[...]
 
But the sound of the Studio Master recordings is absolutely spectacular, with the presence of the instruments almost tangible. 
 
Ung-Aang Talay for the Bangkok Post
 

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BBC Music Magazine - Six Brandenburg Concertos *****

01 October 2013

'Melodic ideas are beautifully punctuated and phrased, vibrato is used strictly ornamentally, and tempos strike my sensibilities as pretty well ideal.'

"it is the sixth concerto, though, that has stolen my heart with its ravishing viola playing, intimately expressive second movement and lightly, crisply bowed finale."

Nicholas Anderson

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BBC Radio 3 - CD Review - Brandenburgs

01 October 2013

‘…after the timeless, instrumental brilliance of Johann Sebastian Bach. And following their critically acclaimed recording of the John Passion earlier this year, the Dunedin Consort has turned to the Brandenburg Concertos.’

‘I found that to be a beautifully balanced performance that works in a way that works across all six sets of Brandenburgs in this new set from the Dunedin Consort directed by John Butt. They weren’t going for the extreme tempos as some of the Baroque specialists who’ve recorded them in recent years. The soloists are excellent and well integrated with the rest of the ensemble so they weave in and out instead of standing forward for the whole thing, even the trumpeter in the second concerto, David Blackadder.  Decoration is sensitively applied.  The recording itself is rich, detailed and has impressive depth in the bass; it’s a really nice feeling. If you’ve found the impetuous pace of some ensembles a little over the top, then this intimate, measured and yet always joyful appraisal of the Brandenburgs ought to work as a real refresher.’

Andrew McGregor

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Gramophone - Editor's Choice - Six Brandenburg Concertos

30 September 2013

Notwhithstanding the distinguished Brandenburg discography, this set is nothing short of sensational.

David Vickers.

Awards Issue 2013

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Herald - Six Brandenburgs Concertos

15 September 2013

CRISP, freshly thought and very carefully realised without loss of apparent spontaneity - that's my take on the brand-new Linn recording of Bach's Brandenburg Concertos from John Butt and the Dunedin Consort, their first all-instrumental recording for the label.

Michael Tumelty

Full Review

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The Guardian - Six Brandenburg Concertos *****

11 September 2013

As an example of what modern baroque practice and top-class musicianship can bring to these hugely familiar works, this set is exceptional'

Andrew Clements

FULL REVIEW

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Messiah 2012 Review

22 December 2012

*****

Kate Molleson - The Guardian

The Dunedin Consort's celebrated Messiah seems to get better every year. Not more honed or polished, necessarily, but more daring, more theatrical and even more sensual. With a period-instrument band of 15 and a chorus of just 12 singers – and that included the soloists – this was as intimate a take on Handel's oratorio as you're likely to get. But the effect is far from whispered or delicate. Such a stripped-down aesthetic means there's nowhere to hide, no buffers for shaky ensemble or intonation. But that's not a problem, either: the crisp, robust responses from players and singers make a long evening fly by. Above all, Dunedin's director, John Butt, recognises the operatic quality of Handel's writing. The opening Sinfony was a long-bowed and luscious scene-setter. Comfort Ye was sultry, For Unto Us was cheekily straight, He Was Despised gave quiet space to its anguish, and in many of the triple-time numbers – And the Glory of the Lord, The Trumpet Shall Sound – Butt really tugged at the downbeat to give it a swinging feel. His knack of interlocking consecutive movements into one long sweep makes for gripping momentum. "Choruses," he reasons in his programme note, "such as And the Glory of the Lord and And He Shall Purify, follow on directly from the preceding arias, just as the conjunction 'and' would imply in the biblical texts concerned." In some Messiahs you might be tempted to let your mind wander between the big tunes; here's there no option but to keep up.

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Battle - Review

27 November 2012

Dunedin Consort, John Butt (director), Queen’s Hall, Edinburgh, 23.11.2012 (SRT)
 
Seen & Heard International - Simon Thomson - 24th November 2012
 
J. S. Bach: Cantata 19 “Es erhub sich ein Streit”
Violin Concerto in E BWV 1042
Cantata 149 “Man singet mit Freuden vom Sieg”
Zelenka: Laudate Pueri Dominum
 
Soloists:
Joanne Lunn:  Soprano
Robin Blaze:  Countertenor
James Gilchrist:  Tenor
Matthew Brook:  Bass
Cecilia Bernardini:  Solo violin

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