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Charles E Brewer
American Record Guide, May 2013

Benjamin Hulett is very effective in this repertoire, especially because of his clear diction and sensitivity to Greene’s settings of the texts. Textural contrast is supplied by the various permutations and combinations of Luke Green…and Giangiacomo Pinardi…who both supply supportive and subtly inventive accompaniments…it is a pleasure to hear… © 2013 American Record Guide Read complete review on American Record Guide

Berta Joncus
BBC Music Magazine, March 2013

Some of the songs are sensational…instrumentalists Like Green and Giangiacomo Pinardo are stellar, gracefully animating Spenser’s words. © BBC Music Magazine

Simon Heighes
International Record Review, February 2013

[Hulett’s] light, perfectly tuned tone seems absolutely right for this repertory. His diction is impeccable, as is his effortless communication of the shape and phraseology of Spenser’s verse…Luke Green’s harpsichord accompaniments underpin the vocal line with delicate propriety…this recording succeeds on all fronts…it leaves me wanting to hear more of Benjamin Hulett and Maurice Greene. © International Record Review

John France
MusicWeb International, January 2013

Benjamin Hulett sings these songs with an engagement that certainly adds value to the literary subtlety of the text. The sonnets could be regarded as a little ‘dense’ to the modern ear, however he has succeeded in presenting the Elizabethan words in an attractive and engaging manner. No better can be demanded for a performance of these richly demanding sonnets. The other two soloists must not be forgotten. Luke Green plays the important harpsichord accompaniment and Giangiacomo Pinardi provides the accompaniment on the theorbo.

Maurice Greene’s songs are usually regarded as being ‘less trivial’ than a number of his contemporaries. Certainly, these Amoretti display a subtle interpretation of the literary sensibility that demands our attention. Although Thomas Arne and Handel may not be too far away in these sonnets, Greene displays a captivating independent spirit that both moves and entertains. Finally, Amoretti can be regarded as being the first English song-cycle. As such, it sets an impressive benchmark that subsequent composers have often failed to better. © MusicWeb International Read complete review

David Denton
David's Review Corner, December 2012

Journeying down the byways of British music you will discover Maurice Green, an 18th century organist and composer who, in his lifetime was held in high regard. He was to occupy many prestigious London posts in both careers, his output largely in the field of sacred music, though he was totally overshadowed by Handel’s presence in London. It was Handel who supplied music for the big royal occasions in preference to Green who was by then the composer at the Royal Chapel. Among Green’s secular output were groups of songs to words by famous British poets including John Dryden and Edmund Spenser, his style following that established by Henry Purcell. Amoretti  (Little loves), had been written as a description of the courtships of Spenser and his future wife, and were published with Epithalamion (A wedding song). As the words are to generate similar pictures of love, the style of the music is seldom contrasted, though melodically it is highly attractive with the accompaniment decorating and supporting the vocal line. I find Green most likeable when the tempo becomes more animated in such pieces as Ye tradefull merchants and The rolling wheele, though the masterpiece of the series is left until last with the robust Like as the Culver. I have greatly enjoyed the young tenor, Benjamin Hulett, in the opera house, and his voice transfers well into the recording studio. Good support from harpischordist, Luke Green. and Giangiacomo Pinardi’s theorbo. Immaculate sound from John Taylor in the Britten Studio, Snape Maltings. © 2012 David’s Review Corner

Early Music Today, December 2012

Remembered today mostly for his church music, Maurice Greene was one of the leading figures in British musical life in the first half of the eighteenth century, as can be surmised from his 20-year tenure as Master of the King’s Musick. Greene’s settings of 25 of the 89 sonnets of Edmund Spenser’s Amoretti, written in 1738, were originally written for soprano and continuo, but transfer seamlessly to tenor; here they receive impassioned and beautiful performances by Benjamin Hulett, whose limpid and agile voice is perfect for this music. Luke Green’s excellent harpsichord playing occasionally suffers from being too brightly recorded, but he and Giangiacomo Pinardi make an excellent continuo team, whose realisations both are tasteful and expertly matched to the varying moods of each sonnet. © 2012 Early Music Today

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