Keith Bruce, Vox Carnyx
‘this 80-minute work can creditably take its place alongside Sir James MacMillan’s 21st century additions to the genre Johann Sebastian Bach pioneered.’
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Keith Bruce, Vox Carnyx
‘This programme was all about clever juxtapositions and segues from one country to another.’
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Ken Walton, Vox Carnyx
‘a glowingly affectionate and eminently stylish musical soirée’
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Keith Bruce, Vox Carnyx
‘there is no debate that the Dunedin Consort is one of the finest Baroque ensembles in the world’
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Keith Bruce, Vox Carnyx
‘singing of extraordinary complexity with virtuosic technique.’
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Keith Bruce, Vox Carnyx
‘rarely do the chorus hymns sound so much part of the shape of the cantatas as they did here… [and] that rhythmic assurance was just as impressive among the instrumentalists.’
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Keith Bruce, Vox Carnyx
‘the work of the players and singers, whose diction was exemplary, was always precise and full of expression.’
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Keith Bruce, Vox Carnyx
‘a beautifully nuanced, delightfully ornamented and utterly compelling performance.’
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Ken Walton, Vox Carnyx
‘a wholesome presentation to a near-capacity Glasgow audience.’
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Keith Bruce, Vox Carnyx
‘The significant arias, and more operatic music, were in the more than capable hands of Lucy Crowe and Anna Dennis… their duetting on Laudamus te was the first shiver-inducing moment of the performance.’
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Keith Bruce, Vox Carnyx
‘Sung with passion and precision… a clever cross-genre creation.’
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Ken Walton, Vox Carnyx
“At the emotional heart of Dido’s Ghost, however, is Matthew Brook’s towering portrayal of Aeneas, which, with Wallen’s and Stace’s evocative writing, invests in the character a human depth that Purcell opted not to explore to any great extent in his own opera.”
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Keith Bruce, Vox Carnyx
“It is desirable beyond argument that Dido’s Ghost becomes a repertoire work.… Dunedin stalwart Matthew Brook has never been better than he is here… Nardus Williams as the supportive Belinda is also a powerful presence, and Scots mezzo Allison Cook is fearsome as Lavinia…”
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