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David Shengold
Opera News, January 2015

Countertenor Robin Blaze’s…voice in many ways anchors the enterprise. John Mark Ainsley…retains admirable flexibility and ductile ease…Some incisive impressive bass singing comes from Giles Underwood…

Daniel Hyde leads the excellent Choir of Magdalen College, boasting centuries-plus of musical tradition behind it. The adult voices perform with remarkably seamless clarity. The deft seven-person orchestra is augmented by Phantasm, a superb quintet of viols. © 2014 Opera News Read complete review

J. F. Weber
Fanfare, September 2014

Daniel Hyde…made great strides with [the] choir. The boys sing firmly with excellent tone. The three soloists are fine, both singly and in ensemble…this is a valid realization of the music, well worth hearing. © 2014 Fanfare Read complete review

Peter Loewen
American Record Guide, September 2014

The music is absolutely gorgeous and sensitively performed by the strings together with the boys and men of Magdalen College. Their tone is pure, no matter the dynamic level, and carefully controlled to bring out the wonderful subtleties of Buxtehude’s music. © 2014 American Record Guide Read complete review on American Record Guide

Zachary Woolfe
The New York Times, June 2014

An exceptionally incisive, clear performance by the Choir of Magdalen College, Oxford… © 2014 The New York Times Read complete review

David Vickers
Gramophone, May 2014

Buxtehude’s concise cantata-cycle Membra Jesu nostri is an exquisite contemplation of seven different parts of Christ’s crucified body. Daniel Hyde’s colleagues from Phantasm provide the five-part viol consort in the penultimate cantata, ‘Ad cor’, but the rest of the cantatas feature two violins and basso continuo played by a small ad hoc band of expert instrumentalists led by violinist Simon Jones; the gentle articulation of the trembling strings in the sonata in tremulo that begins ‘Ad genua’ is judged perfectly, and the animated sonata that introduces ‘Ad latus’ has compelling vigour…

…there is rich splendour in choral textures during the final cantata ‘Ad faciem’, and this is one of the few versions in a vast discography that offers the alternative of boys’ voices on the upper parts. © 2014 Gramophone Read complete review on Gramophone

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