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Ronald E. Grames
Fanfare, January 2017

…the choir’s precision, faulted a bit by Brenesal, leaves little to criticize in this new release. Perhaps a couple of entries could have been cleaner, but I am nit-picking. This fine ensemble of 20 young professionals is most notable for the clarity of their singing…

The balance of voices is interesting, with SATB disposition at 5-6-5-4. It may be the source of the admired transparency, though I can’t say that I am any more mindful of inner voices here. …Soloists come from the ensemble, and are accomplished. © 2017 Fanfare Read complete review

Samantha Holderness
Classical Music, December 2016

A further triumph was Choral Music by the Carice Singers under George Parris, featuring rarely recorded works by John Ireland and E J Moeran. © 2016 Classical Music

Philip Greenfield
American Record Guide, November 2016

The singers are nicely attuned to both composers. © 2016 American Record Guide Read complete review on American Record Guide

Philip Reed
Choir & Organ, November 2016

Throughout their generous programme, George Parris and The Carice Singers (founded 2011) are alert to the subtleties of these settings by Ireland and Moeran. This small choir of young voices possesses an admirable evenness of tone, and their bright, well-focused sound is captured well by the Naxos engineers. © 2016 Choir & Organ

Nick Barnard
MusicWeb International, October 2016

The Carice Singers under George Parris are fresh-voiced and alert and sensitive to the text. …Diction and ensemble is good and the acoustic serves them well.

…a generously-filled disc. This repertoire is far from easy to sing but to do so is richly rewarding for both listener and choir so I am glad to see its cause being so strongly argued by this ensemble of young performers. © 2016 MusicWeb International Read complete review

Alexandra Coghlan
Gramophone, October 2016

Of the newer British choirs currently emerging, few can match The Carice Singers for musicality and beauty of tone. …While the Ireland yields occasional moments of brilliance—the poised sentimentalism of The Hills, the soft-focus beauty and exploratory harmonic glances of Immortality—the Moeran is much more consistently exciting, a real showcase of the composer’s skill with a choir. Avoiding the kitsch, coy horrors of many of his contemporaries, Moeran reinvents the madrigal with supreme skill. © 2016 Gramophone Read complete review on Gramophone

Daniel Jaffé
BBC Music Magazine, October 2016

Well-focused and alert accounts, …Moeran’s overt homages to the Tudor madrigal tradition are both more lively and occasionally reveal his more distinctive voice. © 2016 BBC Music Magazine

John France
MusicWeb International, August 2016

I cannot fault this CD. The choral singing by The Carice Singer supported by their musical director George Parris is inspired. They create an intimate mood to this repertoire that allows the listener to easily engage with each part-song. Their diction is perfect: virtually every word is crystal clear. Hugo Popplewell (bass) makes an excellent contribution to ‘Sea Fever’. © 2016 MusicWeb International Read complete review

Fiona Maddocks
The Guardian, July 2016

The youthful Carice Singers perform these part songs with vigorous attention to detail and, a few tiny slips of intonation aside, beautifully blended tone. Hugo Popplewell is the wistful soloist in Ireland’s Sea Fever. This is music of heat haze, hey-nonny wistfulness: ideal high-summer listening. © 2016 The Guardian Read complete review

David Denton
David's Review Corner, July 2016

The plethora of outstanding young English professional singers has created a host of fine chamber choral groups, The Carice Singers being one of the most recent. For many years John Ireland was a church organist in London where he became familiar with partsongs, and though his output in the genre was limited, the disc’s contents show him to have been active in this field through his long life. In creating the many and varied moods, he used a wide-ranging group of famous British poets spread over four centuries. Ireland was then to become the mentor of Ernest John Moeran in whom he awakened a love of song, though it was to be Moeran’s friend, the composer Peter Warlock, who introduced him to the Elizabethan and Jacobean era. It was from there that the idea for the disc’s most extended work, Phyllida and Corydon, was born. In nine sections, containing Madrigals, Airs and Pastorals, it relates the feelings of the lovelorn young couple of the title. Moeran also coupled seven songs under the title Songs of Springtime, the music, employing harmonies more adventurous than Ireland, and ideally reflecting the nature of the poems. In summary, the coupling is well chosen and hugely desirable, the twenty members of Carice, and their conductor, George Parris, obviously very much attuned to both composers. …the young group produce a beautiful sound, the Oxford church providing a nice warming acoustic. Words are printed in the booklet, though the diction is excellent. © 2016 David’s Review Corner

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