Tasmin Little

“… The performances by both Dashon Burton as the Prisoner and Sarah Brailey as the Soul are highly expressive and right in their dimensions; again, despite the Symphony title, this is a smaller work. They are ably backed by New York's Experiential Orchestra and Chorus under James Blachly, in material that was totally new for all…”

“… As The Prisoner, Dashon Burton is sympathetically caught, his warm, capacious bass-baritone easily holding the attention thanks to his sensitive way with the text. He’s nicely complemented by the bright, slightly fragile soprano of Sarah Brailey who, though a little pushed at the top, brings an appropriately ethereal quality to The Soul. James Blatchly leads his New York City-based Experiential Orchestra in a suitably grand and stately reading enhanced by sonic engineering of imposing amplitude. The choral writing is straightforward but striking, and well-delivered here by Blachly’s disciplined Experiential Chorus… Throughout her life, recognition was an uphill battle; had Smyth been properly encouraged by a male-dominated establishment, perhaps she would have left us with more. The Prison is not just a fine addition to her discography, it’s a tantalizing example of what might have been.”

“… Blachly ensures that dramatic tension is sustained from the first rumbling C, for low clarinet and strings, through to the final choral echo of the Prisoner’s last words … Dashon Burton is very ‘human’; the Prisoner’s dilemmas feel real and recognisable. The bass-baritone creates touching contrast between self-absorbed introspection and the instinctive desire to connect with the world and hold onto life. Unwaveringly lyrical whether tentative or defiant, Burton’s Prisoner is both vulnerable and possessing of inner strength. Sarah Brailey’s soprano has a lovely tender softness, but it also gleams radiantly: this ‘soul’ is no ethereal haunting but a real presence… The choral singing is terrific: the voices are lithe, animated and shimmer with hope, certainty and conviction.. This is a valuable recording. Whatever its musical merits, as the culmination of a musical life, a record of a loving friendship, and a testament to a personal creed, The Prison deserves the commitment, affection and assured performance that it receives here…”

“… The performance is illuminated by her [Brailey] ravishing tone, his [Burton ]authoritative presence, and the superb rendering of the score by Blachly and company… Smyth gives each singer several splendid sequences, and Brailey and Burton use them to full advantage… All praise to Chandos for bringing this work into the world but even more to Blachly, whose engagement with the work began in 2016 when he conducted excerpts of it and who has been the driving force behind its resurrection…”

“… What they [The Chiarosco Quartet] bring to the table is immediately apparent from the opening bars of their latest release, the first three quartets of Haydn’s Op. 76 set. The declamatory three chords announcing the first quartet sets off with a spirited allegro, which is taken at a sprightly clip, setting the scene for a gorgeously realised survey of these works, culminating in a magisterial reading of the Emperor…” ****½

“… Captured live during Trevino’s first season at the helm of the Malmö Symphony Orchestra and recorded (and presented here) in numerical sequence, it heralds the young American baton-wielder as a Beethovenian of considerable abilities. The dominant accent is lyrical and fluid with zesty tempi, characterful playful and a pointedly employed penchant for the dramatic. Throughout, Trevino’s interpretative choices discretely accommodate lessons learned from his predecessors even while espousing an agreeable freshness all their own… Spirited vocal contributions from soprano Kate Royal, mezzo Christine Rice, tenor Tuomas Katajala, bass-baritone Derek Welton and the MSO Festival Chorus in the rousingly excitable Choral finale are lithely supported by Malmö’s impressive musicians. A deserved nod, too, for Ondine’s crisp, clear and communicative engineering.” ****

“…Sensitive, sympathetic and deeply nuanced performances are complemented by an incredible surround sound recording from the BIS team in which each delicate intonation is cloaked in rich silence.” *****

“… Weiland’s music is rigorous, skilful, taut in counterpoint, clean in texture, mellifluous, tonal but not in a dated or restrictive way, and structurally traditional. You might call it the relaxed version of Modernism… These pieces, from 2011 and 2012 respectively, were composed for William Hennessy, first violin of the Melbourne Quartet and former leader of the ASQ. The performances could not be bettered, and the recording is perfectly balanced.” ****½