Saturday 3rd July 2010

The Coronation of Queen Elizabeth II (2nd June, 1953)

A reconstruction of the Coronation of Queen Elizabeth II

with Exeter Cathedral Choir

Direction by Andrew Millington, Stephen Tanner and David Acres

Paul Morgan (organ)

Exeter Cathedral

Programme:

• Parry - I was Glad (combined choirs)
• Howells - Behold O God our Defender (Counterpoint)
• Harris - Let my Prayer come up (cathedral choir, boys and men)
• Handel - Zadok the Priest (combined choirs)
• Dyson - Confortare (Be strong and of good courage) (Counterpoint)
• Redford/Anon - Rejoice in the Lord Always (cathedral choir, girls and men)
• Wesley - Thou will keep Him in Perfect Peace (cathedral choir, girls and men)
• Byrd - I will not Leave you Comfortless (cathedral choir)
• Gibbons - O Clap Your Hands (cathedral choir, boys and men)
• Vaughan Williams - All People that on Earth do Dwell (combined choirs)
• Vaughan Williams - Creed from the Mass in G Minor (Counterpoint)
• Vaughan Williams - Sanctus from the Mass in G Minor (cathedral choir, boys and men)
• Vaughan Williams - O Tase and See (cathedral choir, girls and men)
• Stanford - Coronation Gloria (cathedral choir)
• Walton - Coronation Te Deum (combined choirs)

• An inspired concept to perform most of the music from The Coronation 57 years after the event, but – Praise God – still relevant today with Her Majesty still on the throne.
• The music chosen was sung by a variety of groups – the Cathedral Boys and Men, the Cathedral Girls and Men, Counterpoint, and a combination of all three choirs. This made for a most satisfying and revealing contrast throughout the evening. The concert was accompanied by film of the actual Coronation Service, with the “Richard Dimbleby” commentary admirably provided by The Precentor.
• The combined forces began with the stirring Parry anthem I was glad, which, together with Handel’s Zadok the Priest had been sung at the coronation of her father a quarter of a century earlier. The conductor was Andrew Millington, Cathedral Director of Music.
• This energetic opening was followed by the Introit to the Mass Behold O God our defender by Herbert Howells. Sung by Counterpoint under their conductor David Acres, one’s first impression was of the beautifully serene blend of this chamber choir, with a clarity, especially in the top line, which was simply mesmerising. Such a contrast set the tone for the whole evening.
• The Gradual of the Mass Let my prayer come up into thy presence by Sir William Harris was then sung by the boys and men of the Cathedral Choir. The Credo of the Mass proper – from Vaughan Williams’ Mass in G minor – was sung by Counterpoint. This work was written for Westminster Cathedral in 1922, and is still as fresh and archetypically English today as when it was written. For double choir with a quartet of soloists, this was serenely sung, and there were special moments of pianissimo, as in the incarnatus section, which made one’s heart stop.
• By contrast Handel’s uplifting Zadok the Priest followed, reminding us of the anointing of King Solomon. This is something of a war-horse on royal occasions, and is so often performed that it might become hackneyed. The main reason for such a reaction is the tempo. Andante maestoso is Handel’s marking, and this evening that was observed to the letter by Acres: a wonderfully grand and steady speed of the introductory 22 bars from Paul Morgan at the organ provided a sense of awe and anticipation all too often missed. When the choirs did eventually burst in with their exuberant opening syllable – without one has to say any elaborate gesture from the Conductor – it was a breath-taking moment, and almost a surprise despite its familiarity!
• Then followed a commission for the Coronation – George Dyson’s Confortare, sung at the moment of the crowning.
• At the coronation, the Homage of all present in Westminster Abbey was accompanied by the singing of five anthems, four of which were sung here by the Cathedral choirs, two before the interval and two at the start of the second half. The 16th century Rejoice in the Lord alway (attributed to John Redford), and the glorious contrapuntal double-choir O clap your hands together by Orlando Gibbons closed the first part, and to open Part II William Byrd’s Non vos relinquam orphanos and SS Wesley’s Thou wilt keep him in perfect peace.
• As at the coronation itself everyone then sang the Offertory hymn All people that on earth do dwell, to the tune The Old Hundredth in the specially arranged version for the occasion by Vaughan Williams.
• The Sanctus from the G minor Mass then followed, beautifully sung by the boys and men of the Cathedral choir. Sadly the Communion motet, again specially commissioned for the 1953 service, O taste and see, was disappointingly sung by the girls and men: overfast, relentless and largely wordless.
• But the glories of the evening were still to come: Stanford’s Gloria in excelsis, from his full set of B flat canticles, composed in 1911, and to conclude, the exhilarating Te Deum laudamus, composed especially in 1953 by William Walton.
• This was a thrilling evening, with some truly spectacular sounds, and also, more movingly, some truly serene moments. (Geoffrey Mitchell)

Saturday 26th June 2010

Requiem for Florence Nightingale (1820-1910)

Commemorating the centenary of Florence Nightingale's death

Paul Morgan – organ

Buckfast Abbey

Programme:

• Fauré - Requiem
• Bruckner - Os Justi
• Wesley - The Wilderness
• Parry - I was Glad
• Pearsall - Tu es Petrus
• Mendelssohn - Hear My Prayer

• This must be one of the very best Counterpoint concerts that I have been to. The idea of conceiving a concert around a character or period from the past is not new to your audience but the combination of Florence Nightingale and her wonderful life and service, coupled with those marvellous readings and emotional musical compositions was a worthy achievement.
• ...I have lost count how many times I have heard Fauré's Requiem over the years but I want to tell you that Counterpoint's performance will live in my memory for ever. The way in which the choir moved with ease between the pianissimo sections and the fortissimo sections was stunning to hear and the soloists were of the very highest quality.
• This was a highlight for me as was the first reading, followed by Hear My Prayer. The reading was most touching and enhanced your interesting programme notes and by the beginning of O for the Wings of a Dove, I was looking through a haze of emotional tears. A complete triumph. Well done to you all. (Michael Rybourne)
• I think you enabled us to sing in a way which we have rarely managed before! Despite our numbers, we DID achieve those sudden and electric "pianos" and you had us eating out of your hand, from teenagers to "grumpy" oldies!! Not that I heard ANY grumps at all.
• I imagine Florence N. will be inextricably linked from now on in peoples' minds with Faure's Requiem and Hear my Prayer, to the advantage of both the pieces and the amazing lady. I have not had chance to read the programme yet, but look forward to doing so. The readings were excellent. (Stella Westwell - Choir Member)
• Yet another splendid concert at Buckfast - a lovely selection of music, and I found The Funeral reading most absorbing. How lovely to hear Paul Morgan on the organ - fascinating to watch him at work from up in the Gallery, look forward to hearing him again I hope now that he is 'so-called' retired.
• As I have just booked a train trip entitled 'The Crimean Trip' for late April 2011, travelling from St Petersburg down to Yalta, the excellent history contained in the programme seems even more pertinent. I hope that you realize how much many of the audience value the wonderful contents of these programmes, and that we do appreciate how much effort goes into them - they are a history lesson in themselves. Many thanks. (Joy Winzer)
• As I stood at the back of the church on my way out, at the end of your beautiful concert in Buckfast Abbey on Saturday, I heard virtually everyone who passed me eulogising on the superb performance we had all just witnessed. I felt lifted up onto a spiritual plain that elevated me high above the drudgery of the day I had just been through!
• I can't really express in words how important the choir and your concerts are to me and Jane. On most occasions we feel emotionally drained at the end of the night and your recent inclusion of the gentle parting song really helps to ease us back into reality.
• We haven't missed a concert now for twelve years and Counterpoint's Buckfast performances are the highlight of our musical year. (Graham and Jane Sharpe)

Saturday 15th May 20100

The Coronation of King George II, 1727

A staged reconstruction

Exeter Cathedral

Programme:

• William Child - O Lord, grant the king a long life
• George Frideric Handel - A Grand Instrumental Procession
• Henry Purcell - I was glad when they said unto me
• George Frideric Handel - Coronation Anthem: Let thy hand be strengthened, HWV259
• Thomas Tallis - The Five-Part Litany
• John Farmer - Come Holy Ghost
• George Frideric Handel - Coronation Anthem: Zadok the Priest, HWV258
• John Blow - Behold, O God our defender
• George Frideric Handel - Coronation Anthem: The King Shall Rejoice, HWV260
• Orlando Gibbons - Te deum, from The Short Service
• George Frideric Handel - Coronation Anthem: My heart is inditing, HWV261

• I have seen the Coronation of King George II in concert on two occasions prior to our visit to the Cathedral on Saturday 16th May. Both times it was the Kings Consort and the main difference between your performance and the TKC was the way in which you vividly brought the occasion to life. My husband and I could both imagine what it might have been like to have been there on that glorious day in 1727. The combination of a spoken commentary, coupled with your use of almost every nook and cranny in the Cathedral, created an unique atmosphere that proved a winning combination. The choir sang with sensitivity and fervour and we still find ourselves talking about the evening now, over two weeks later! (Vicky and Michael Eaves)
• Thanks for a lovely concert on Saturday. We thoroughly enjoyed every aspect of it from the narration to the trumpets and drums and, of course, the quality singing which is the hallmark of Counterpoint. We have actually not been to one of your concerts in the Cathedral, normally taking our musical pleasures at Buckfast, but I shall have to make a greater effort to come to Exeter in future since the grandeur of the setting gives everything an extra dimension. Concerts for the year are booked into the diary. (Angela and Alan Cooksley)
• Saturday evening's concert was superb in every way. I have always admired your attention to detail, none more so than this performance - I felt I was there in the Abbey! Your programme notes and the narration by Ken Parry were superb. An evening which will remain in my memory for a very long time. (Malcolm Pomeroy)

Saturday 6th February 2010

The Life and Times of Queen Elizabeth of York, wife to King Henry VII (1466-1503)

Buckfast Abbey

Programme:

• Kyrie - Antoine Brumel (c.1460-c.1520) from Missa Et ecce terrae motus (the Earthquake Mass)
• Gloria - Antoine Brumel (c.1460-1520) from Missa Et ecce terrae motus (the Earthquake Mass)
• Ah, Robyn - William Cornysh (1465-1523)
• Virgo prudentissima - Heinrich Isaac (c.1450-1517)
• Je ne puis vivre ainsy - Antoine Busnois (1430-1492)
• Pourquoi non - Pierre de la Rue (1469-1518)
• Tota pulchra es - John Plummer (c.1410-1484)
• Sanctus and Benedictus - Antoine Brumel (c.1460-c.1520) from Missa Et ecce terrae motus (the Earthquake Mass)
• Parce mihi - Jacob Obrecht (1450-1505)
• Kyrie from Missa L'homme armé - Johannes Ockeghem (1420-1497)
• Ave Maria Mater Dei - William Cornysh (1465-1523)
• Agnus Dei - Antoine Brumel (c.1460-1520) from Missa Et ecce terrae motus (the Earthquake Mass)

• Once again we feel we must make contact to express our gratitude to you and Counterpoint for the wonderful concert on Saturday evening in Buckfast Abbey. The most important thing you have done for Wendy and I is to open our ears and minds to so many new and wonderful composers. Over the years you and the choir have helped us discover a new world of music that we could never have come across without your invaluable contribution to the Devon music-scene.
• Antoine Brumel was a name I had not come across until last night but what a revelation? The beauty and power of the composition was electrifying and we were both left marvelling at how such music could have been conceived and then written down for eternity in the late 1400s.
• The Isaac was very exciting and we thought the small group pieces were a masterstroke. (Eric and Wendy Hampshire)
• ... What a wonderful piece of music the Brumel Earthquake Mass is – 12 voices all singing at one time to create a huge wall of sound. Brumel would give composers of the 21st century a good run for their money! (Mike Gundry)
• ... and then there was the Isaac motet, Virgo prudentissima. I first heard you sing this nigh-on 15 years ago! It was full of rhythm and vitality. We both thought that this was one of the highlights of your wonderful concert on 6th February. (Paul Tait)
• ... The older, small group works were my favourite part of the evening. Busnois, Obrecht, Plummer and Ockeghem – where do you find all this long-forgotten composers? Thank you for bringing them to my attention. Thank you also for singing in the Cornysh motet yourself, David – I think the last time Dora and I heard you singing with Counterpoint was the same work in the early 1990s! (Ralph Dawson)
• We were so excited to be able to hear the Earthquake Mass, live. We have two versions of it on CD but never thought we would get the opportunity to hear it sung live by Counterpoint. What a feast of sounds – it reminded me, in parts, very much of Spem in alium by Thomas Tallis. (Tom Hook)

October 2009

Tour of Brittany

Included a concert at Locmaria Church, 24th October

• The Reproaches - John Sanders (1933-2004)
• Sleep - Eric Whitacre (b.1970)
• Haec Dies - William Byrd (1543-1623)
• In spiritu humilitatis - Giovanni Croce (1557-1609)
• Circumdederunt me dolores - Padilla (c.1590-1664)
• Miserere mei, Deus - Gregorio Allegri (1582-1652)
• Latin Magnificat for 2 choirs - Sir Charles Villiers Stanford (1852-1924)
• Water Night - Eric Whitacre (b.1970)
• Versa est in luctum - Alonso Lobo (c.1555-1617)
• Ave Maria - Robert Parsons (d.1570)
• Os justi - Anton Bruckner (1824-1896)
• Vox dicentis: Clama - Edward Naylor (1867-1934)

Review from Le Telegramme 26 October 2009

• Once again, the public flocked to the church of Locmaria on Saturday evening to hear Counterpoint, the vocal ensemble directed by David Acres. Since 1991, these singers from Exeter have been visiting Brittany every two years, entertaining their many singing friends. This was the case on Saturday.
• The ‘speciality’ of this choir, composed of semi professional singers, is its colour. Piece after piece, the celestial voices of the sopranos soared above the deeper timbre of the gentlemen, each moment most moving.
• Counterpoint also possesses the art of nuance at a very high level. Thus the very beautiful Sleep by the modern composer Whitacre was a true marvel. The voices begin quietly, as in a gentle lullaby, then little by little the radiance shines more loudly to finish once again as a lullaby.
• In the second part of the programme, the choir performed their interpretation of Water Night, another piece by Whitacre which was equally wonderful.
• Meanwhile, the famous Miserere of Allegri resounded beneath the Norman vaulting. Skilfully distributed in different parts of the building, the main choir and the quartet responded to each other and played with the polyphony.
• These beautiful voices were again united through performances of other pieces written by composers such as Padilla, Lobo and Parsons, again filled with shimmering light and shade.
• Os Justi by Bruckner had a joyous, seductive style and the Vox Dicentis by Naylor concluded the programme magnificently.
• An encore, by Elgar, another favourite composer of David Acres and his singers placed the final note on this very beautiful concert.

Saturday 10th October 2009

A Banquet of Voices

Buckfast Abbey

with

James Bowman (countertenor)

Dorothy Linell (lute)

Many highly praising comments were received. Here are just three:

• I don't usually write to let my feelings be known but in this instance I am making the exception. The concert last night in Buckfast Abbey with James Bowman and Counterpoint was quite superb. The excitement was tangible and the beauty and blend of your choir must be the envy of all other choir members who come to hear you. You were able to draw out of your singers huge depths of pathos that was ravishing to hear. I have not heard James Bowman sing publically before and I found it a profound and moving experience. My wife's sister told me he must be 65 and I find it incredible that he is able to sing with such authority and beauty. Marvellous!
• Please make sure that you keep me informed of your future productions. (Edward Gower)
• I have been coming to hear your wonderful choir for over 15 years. What I love about Counterpoint is that I never leave a performance without feeling moved and elated. Saturday 10th October was a remarkable achievement. I love James Bowman's voice and being based in Kingsbridge, now in my retirement, I do not get the opportunity to venture too far afield to hear soloists of Mr Bowman's calibre. I was deeply moved by his performance and in particular the Dowland song, Time stands still. Drop, drop slow tears by Orlando Gibbons was a pure delight.
• I was most impressed by the Whitacre pieces and I thought the Stanford double choir Latin Magnificat was fantastic. The acoustics of the building are just right for these dramatic works and the Allegri Miserere was stunning; I loved the staging of this with the verse soloist really excelling on those fantastic soaring top Cs.
• I hope the tour of Brittany goes well. I have spoken to my friends, the Dawsons, who live in Concarneau and told then that they must come and see Counterpoint when you're over there. (Calvin Frobisher)
• ...The contrasts between James Bowman and the choir couldn't have been more dramatic. The power and resonance of his voice have not been dimmed by time and my wife and I were in unison with the sentiments to be found in the words of Drop, drop slow tears - blinking back our own tears as James sung so beautifully! Our musical calendar would not be complete without our tri-annual visit to Buckfast Abbey to hear Counterpoint sing. (Barry & Yvonne Yeats)

Saturday 4th July 2009

The Glories of Venice II

Buckfast Abbey

with

The Counterpoint Brass Ensemble

Comments received:

• "Aren't Counterpoint absolutely superb!" my friend remarked to me as we left Buckfast Abbey last Saturday, heavenly music still ringing in our ears. And there is no doubt - they absolutely are, superb! The experiment paid off, the audience were thrilled, we are all hoping for more - and actually already looking forward to the Cathedral concert in May 2010 with the choir and the Counterpoint Brass players!
• The Glories of Venice was something completely different from the previous musicfests delivered by this talented and brilliantly-directed choir. The choice of programme which was comprised of compositions by Gabrieli, Croce, Monteverdi, Ugolini and Merulo was not only exciting but for some of us a welcome introduction to a new musical sound. Buckfast Abbey is a wonderful venue for these musical experiences anyway - but for this combination of brass and choral music it was quite stunning. The audience applauded until every last member of the group was out of sight and didn't seem to want to stop!
• Once again we say "thank you" to Counterpoint and director David Acres for giving us a joyful evening which was both soothing and uplifting! See you, everyone - at Buckfast Abbey on Saturday 10th October, for A Banquet of Voices with James Bowman! (Annette van Oppen)
• Just a line to congratulate you on last week’s Buckfast Abbey concert. It really was a very exciting concert, made more so by the clever use of the building in performance. Gabrieli’s Exaudi me Domine was so dramatic an opening half way down the Quire, allowing full resonance of the building and the contrast with Ugolini’s Quae est ista couldn’t have been greater. I’m not sure we would have heard the ‘rippling’ entries had you used the brass as well, as originally planned?
• The whole evening was electric ... much enhanced by the splendid brass. Well done! (Paul Homes)

Saturday 16th May 2009

Messiah - Handel

Commemorating the 250th anniversary of Handel's death in 1759

Exeter Cathedral

with

Mary Bevan (soprano)

David Martin (countertenor)

Thomas Hobbs (tenor)

Stuart Young (bass)

Comments received:

• After the last breath of music had died away, I got the feeling that every single person in the audience would like to have been able to personally thank every single musician for tonight's glorious performance of Handel's Messiah at Exeter Cathedral. Many people were moved to tears at times and everyone was exclaiming - even during the interval - that this was a marvellous musical experience.
• Of all the productions of this work that I have heard, this one was the most magical, showed the most musical talent and will remain in my memory for evermore.
• You drew every last drop of musicianship out of your people and the result was moments of exciting drama as well as perfect harmony. The relationship between the gifted and enthusiastic choral and solo singers and the superbly talented members of Divertimento was remarkable - and it was absolutely obvious that this was inspired by your leadership and passion for musical presentation of quality. You also demonstrated that bigger is not always better - in fact, in this instance, quality was far better than quantity!
• This last was also exemplified by your excellent programme notes.
• I am sure that I speak for everyone when I say thank you all so much! (Annette van Oppen)
• Thank you for inviting me to come and sing, I really enjoyed myself. The cathedral is beautiful and a pleasure to sing in, but mainly I enjoyed listening to the choir. They sang so musically and made sense of the words in a way you don't hear often with choirs! They obviously know you and understand your direction very well. The band were also a pleasure to sing with - responsive and sensitive.
• I know what you mean about the Messiah coming across as a story. It is just that, so when it's performed sensitively I think it really works. It would be the same with the St John and St Mathew Passions, which I expect your group would do very well.
• Do please ask me back in the future - I would love to sing for you again.
• Thanks again,
• Mary (Mary Bevan, the soprano soloist)
• Rosemary and I just wanted to say how very much we enjoyed Counterpoint's performance of Handel's Messiah. It was a truly wonderful evening. We certainly had one of the best positions in the Cathedral and it was thrilling to hear the soloists and choir at close quarters!
• We were both very moved by the performance. The Messiah is undoubtedly one of the most performed (and the most cherished) of Handel's oratorios and yet we both agreed that last night's performance came over with a freshness in both interpretation and meaning, and we can honestly say that when the tenor Thomas Hobbs took his place and started singing the first recitative 'Comfort ye my people', we both felt near to tears. He is blessed with such a wonderful voice, rich in clarity and expression, and it was a joy to listen to him. We were equally enthralled by the other young soloists all of whom are, we are sure, on the verge of promising careers.
• The accompanying musicians were excellent and it was lovely to be able to see and hear them perform so clearly. I was impressed by the double-bass player who worked hard all evening and really made her instrument sing!
• We thought Counterpoint delivered a beautifully balanced sound for the choral sections and the Hallelujah Chorus and Amen Chorus will echo in our hearts and minds for many years to come! It was truly a memorable evening and you, as Musical Director, and the choir are a great asset to Exeter's musical heritage.
• On a final note we are so pleased that Counterpoint has generously undertaken to stage a concert each year in May to assist directly with the welfare and scholarships of the Boy and Girl Choristers. We are strong supporters of the Choral tradition at the Cathedral and fully agree with your heartfelt sentiments expressed in the programme notes concerning the need to protect that tradition for generations to come. We are more than happy to support you in any way we can and we look forward to coming to many more concerts in the future. (Adrian and Rosemary Francis)
• ...what a triumph the concert on Saturday was!!!!!
• Well done, all of you, on a truly magnificent performance. I think you surpassed yourselves and do so hope you all felt the same. Everyone seemed to be really enjoying themselves!
• You seem to make light work of conducting such a mighty piece - how do you do it?! you are obviously an inspiration to the choir. I do very much like watching conductors - so many different styles.
• The soloists were just superb, as usual, but these were quite special, just perfect for the work and all had such wonderful delivery. And how special that the three men had such personal connections! ...It will be interesting to follow the progress of Mary Bevan as she moves further into her career - she really was quite lovely to watch and hear.
• We were quite moved by your comments regarding the Cathedral Choir and School in the programme - a heartfelt message.
• Thank you so much, for a truly lovely evening. We look forward to the next concert. (Mary)

Saturday 7th February 2009

The Life and Times of King Philip II of Spain, 1527-1598

Buckfast Abbey

Comments received:

• My daughter and I had the very great pleasure of attending your recent concert at the Abbey (7th February 2009). It truly was an evening of sublime music making that we are still coming down from. I also have to say that your ending to the concert was inspired making a very fitting and dignified finale. (Paul Martin)
• What a wonderful evening we had at Buckfast Abbey yesterday...
• The setting in the Abbey was superb and we thought the programme you compiled around the life and times of King Philip II of Spain was a wonderful blend of some of the finest music of the sixteenth century as well as being an informative and interesting history lesson! We are both very keen on early choral music and wish we had become acquainted with Counterpoint at an earlier time. It was good to hear works by some of the lesser-known composers - Rosemary was taken by the Ave Maria by Robert Parsons and I particularly enjoyed the last two pieces by Padilla and Lobo, both of which were very moving.
• We were very impressed with the wonderful blend of voices and the dynamics of the choir, altogether very pleasing to the ear and the soul! It was a delight to sit there in the beautiful setting of the Abbey and to allow the music to transport us to a different world and to another time in history - and yet I think the music has lost none of its resonance in today's world.
• We are already looking forward to your concert in May at Exeter Cathedral and will keep our eyes open for future events. If possible, could you please include us on your e-mailing list? (Adrian and Rosemary Francis)
• David Acres brought the Counterpoint choir to perfection for Saturday evening's performance of music composed during the reign of Philip II of Spain. Wave after wave of glorious sound washed over us and echoed around the wonderful venue of Buckfast Abbey, giving us comfort, joy and pure pleasure.
• The way the choir chose to end the performance by singing Remember, O Thou Man as the parting song as they slowly moved out of the choirstalls, enabled us to depart from the Abbey respectfully and with the haunting sounds of this marvellous choir remaining in our minds for the journey home and beyond.
• Congratulations to everyone involved and especially those members who were caught out by the snow on Telegraph Hill, while wending their way home after a rehearsal during the week. (Annette van Oppen)
• I wanted to pass on how much Sue and her friend enjoyed the Philip II of Spain concert. They found it electrifying, with the Padilla, Byrd, Parsons and Guerrero from the first half and all the second half getting particularly favourable mention. Best of all - and I'm sure you'll get other people's similar opinion - the Ravenscroft at the end was spellbinding. It left the Abbey hushed at the end, with people too stunned to talk in anything but appreciative whispers.
• After his first concert with Counterpoint in the Cathedral in 2004, James Bowman made the comment that the piece he had most enjoyed was the Gibbon's Drop, drop slow tears: a similar example of how potent a simply constructed work can be in comparison to what has gone before.
• Another observation from the audience was that the balance seemed better with the choir in the stalls. (Stephen Block - a choir member)

Friday 7th November 2008

Appearing with the folk group Show of Hands

Exeter Cathedral

Comments forwarded to us from the Show of Hands manager:

• Please could you pass on our sincere thanks to Show Of Hands for the most beautiful evening at the Exeter Cathedral last night, we didn't want the evening to end. A fabulous atmosphere with the sound and lighting absolutely perfect together. Thank you for introducing us to music of the Counterpoint choir, they made the night very special. The four songs chosen for Remembrance Day was very moving and Nimrod sung by the choir brought a few tears to the eyes. We shall be enjoying this evening for a very long time. (Kaye)
• 'For sheer atmosphere, that can only be matched by the Albert Hall! Really beautiful...thank you so much to everyone involved...'
• 'Well if Topsham was stunning, Exeter was doubly so - the choir, the acoustics and the lighting were magical, Steve, Phil and Miranda weren't bad either!'
• '...the inclusion of the choir's Lux aeterna (taken from the Latin words to the Requiem service) was a masterstroke, being placed after the Somme medley - it had my wife and I in tears!. It was a wonderful evening of music and atmosphere.'

Saturday 18th October 2008

Lux aeterna

A concert to commemorate the 50th Anniversary of the death of Ralph Vaughan Williams (1872-1958)

Buckfast Abbey

with

James Bowman (countertenor)

The Divertimento String Ensemble

Comments received:

• What a 'transport of delight'. We had decided to stay put over the weekend of 18th/19th October and have a lazy time at home but friends from Brixham in Torbay persuaded us to stay with them over the period and we found our way to Buckfast Abbey, by chance, on Saturday evening. Your concert that evening was superb. I have not heard the Vaughan Williams Mass in G minor since I sung it in my early 20s in London. Your performance was electrifying and we were on the edge of our seats with anticipation. The Lauridsen and Whitacre were exquisite: the structure and quality of the Whitacre and the uplifting and exultant melody of the Lauridsen were extremely well realised. (Michael Eastward)
• This is the third time I have seen James Bowman in Buckfast Abbey with Counterpoint and I was so pleased I came to hear you all. I first heard James Bowman sing in Oxford nigh on forty years ago but in the singing of Linden Lea, those forty years just seemed to melt away! The choir's interpretation of the Vaughan Williams Mass and the American composers' works were excellent and I can still hear several of the tunes playing in my head. (Derek Le Grys)
• I just had to write to congratulate you for the concert you gave yesterday evening. It was a wonderful programme of music and the performance was at times deeply moving. The Whitacre (who I'd not heard of before) was sublime. I look forward to hearing you again. (Lawrence Kelson)
• I've been meaning to email you to say thank you for making that wonderful concert possible. All the people I got tickets for were absolutely blown over. And yes, most of them mentioned the Whitacre and Lauridsen, particularly... oh, and the VW. During the interval, my father-in-law said to me, "Of all the concerts we could have gone to, we were just saying this is the best one." I think they were very surprised, as they are not fond of modern music. And of course, neither am I... BUT as a 'strictly' renaissance girl, I, personally, was amazed at what a good and fulfilling concert it was to perform in. Lauridsen and Whitacre are now high on my list of good guys! (Nini Davies - soprano in Counterpoint)
• The Counterpoint concert on 18th October was, arguably, the best ever. My brother, at one stage, started thumping on the front pew and shouting 'more' to James Bowman - not refined behaviour but just about sums it up, I think. (Dr Roger Onyett)

Saturday 17th May 2008

Masters of the Baroque

Exeter Cathedral

with

Michael Chance (countertenor)

The Divertimento String Ensemble

Andrew Millington (organ)

George Pratt (harpsichord)

Richard Pratt (trumpet)

Comments received from the audience:

• What a revelation the Bach Chorales were. I know Bach's main three Passions well and I would offer the choir full marks for their interpretation of these three beautiful works. To illicit such emotion and tenderness from short and seemingly ephemeral compositions is the true mark of a choir's ability. I also loved the style and panache to be found in the Ugolini and Caldara. (Tom Evans)
• Thank you for bringing Michael Chance to Exeter Cathedral. I haven't heard Michael since the late 1990s and strangely enough that was also a performance of Vivaldi's Nisi Dominus. The quite breathtaking delivery in the slow section drew the audience into his inner-space and left us all quite drained.
• I particularly liked the Gloria. The speeds were timed to perfection and the combination of choir, soloists and string ensemble was a real triumph. This was the first time we have come to a Counterpoint concert but I know it will not be the last.
• What my wife wants to know is, 'how come we live in Exeter but have not read anything about you over the past 20 years?' (Stanley Heard)
• Only in this cathedral, with this choral group under this musical Director, on this day [the writer's highlights] - could such heavenly music have been created for the enchantment of the listeners. The extraordinary voice and breath control of Michael Chance singing For so he giveth his beloved sleep [from Vivaldi's Nisi Dominus] took us on to another plane and the choir produced what was probably their finest rendition of the Matthew Passion Chorale No 15 by Bach - Receive me, my Redeemer. It was simply divine. The musical direction of David Acres made its magic once again and everyone left the Cathedral uplifted. (Annette van Oppen)

Saturday 8th March 2008

Requiem for Mary Queen of Scots

Buckfast Abbey

Comments received from the audience:

• Yet another unforgettable evening given by Counterpoint. The two tours de force renditions in the first half of Victoria's Ave Maria and de Rore's Parce Mihi, Domine certainly took this listener to another plane. Also a very interesting episode of comparison with the works of Tallis and Cavazzoni. The second half's thread of Victoria's Requiem throughout gave a nice ebb and flow to the performance while Gabrielli's Ricerare brought out the sunny side of organ recital and shows that walking in this era of composition, you can turn a corner and find a gem. Not the first time David Acres and Counterpoint have done this. The masterful Tallis' In Manus Tuas completed a most enjoyable experience. (Michael Brech)
• Those who were lucky enough to be at Buckfast Abbey on the evening of Saturday, 8 March, had the sombre but nevertheless uplifting experience of Counterpoint fulfilling a challenging and extensive programme of simply beautiful music comemmorating the sad but extraordinary life of Mary, Queen of Scots.
• This "chamber choir" responds to an outstanding Director in David Acres and when he asks them for it, they give it - "in spades" - to the great joy of their devotees, who are evermore thrilled and delighted by what can only be described as a unique experience.
• Whoever said it was correct - to hear Counterpoint perform is a "fix" worth travelling miles through the rain for - and many people do just that! (Annette van Oppen)

Saturday 27th October 2007

Handel & Purcell - Arias, Ode & Anthems

Buckfast Abbey

with

James Bowman (countertenor)

The Divertimento String Ensemble

Statements received from seasoned audience, choir and ensemble members:

• '...I can’t tell you what a privilege it is to be involved in a concert of this quality. Bowman has a magic about him that’s truly inspirational.
• '...working with James is really a great musical experience and I fell VERY privileged to have been part of it'.
• '...Counterpoint shone in the Coronation anthems...never too overblown and always clear and exciting in delivery.
• '...I am still on cloud 9...James moved me to tears emotionally on not one, but two separate occasions'.
• '...Purcell's Hear my prayer was so intense and measured, contrasting in an excellent way...the climax towards the end of the work was outstanding.'
• '...The quality of James Bowman's voice is stunning in its beauty and passion'.
• '...I love James's delivery...his control and the way in which he holds sway with his audience is mesmeric'.
• '...one of his great skills is being able to take a fairly ordinary aria like Handel's Where 'ere you walk and turn it into a quite breathtaking work of art. I heard the piece in a completely different light...I can't thank you enough for being able to bring James to sing to us each year.'
• '...will we hear his like again? He is a consummate performer and held us all spell-bound whenever he came forward to sing. Pena tiranna really was as good as the programme notes infered.'
• '...and the choir rose to the occasion with great style. Every word could be heard clearly and the passion of your delivery was not dimmed by the addition of your splendid band.'
• '...this must be the fourth or fifth time that I've heard Purcell's Come ye sons of Art, away - including a King's Consort version several years ago - but I can in all honesty say that Counterpoint's rendition on Saturday was the best I have heard'.
• '...I heard all four Coronation anthems when Counterpoint performed them in Exeter Cathedral last year but the combination of the choir and the orchestra with My heart is inditing and Let thy hand be strengthened in Saturday's concert was electrifying. The power and majesty of these works was fully realised - although I must admit to yearning after more unaccompanied Counterpoint, which is my first love!

July, 2007

Counterpoint enchants the audience at Locmaria

Quimper, France

• For 18 years Counterpoint has been crossing the channel to present a series of concerts in Brittany. On Thursday evening, as always, David Acres’ group of singers enchanted the audience at Locmaria church in Quimper.
• In 1990 it was the choir Kanerien Pen Ar Bed who invited Counterpoint. Today it is the Jef le Penven choir, through Serge Duigou and others, who welcome these semi-professional singers from Devon. A Counterpoint concert is always enchanting, and on Thursday the choir was once again astonishing, with a programme of rarely heard music.
• First a semi-chorus of men’s voices, like monks in a medieval abbey, gave us an intense Nunc Dimittis. Then a young countertenor with a superb celebration of the Virgin. And leaving behind the austerity of these first two pieces, Counterpoint took us to Spain with a tambourine rhythm that would probably have been known to the pilgrims of Montserrat. The whole of this first part of the concert, each motet, each religious work, from the Ave Regina of Guillaume Dufay, to the superb and sensitive Lugebat David Absalon of Nicolas Gombert, or the splendid Timor et Tremor of the great Lassus, allowed the choir to show the variety of its singing. Mens voices, womens voices, the whole choir together delighted us with the colours of this ancient music and its beautiful polyphonies.
• The second half of the concert was devoted to the Renaissance and more recent works with wonderful interpretations of motets by Byrd and Gibbons. Then three superb extracts from Bach’s St Matthew Passion and the marvellous Vox Dicentis by Naylor. And what else can we say about O Magnum Mysterium by Morten Lauridsen – its beauty gave the audience the opportunity for meditation, emotion and happiness. Finally, as the icing on the cake, the choir, with great élan, gave us some unforgettable moments such as the magnificent extract from Elgar’s Enigma Variations and Eric Whittaker's Sleep.
• Eliane Faucon-Dumont, Le Telegramme, 30th July 2007

Saturday 23rd June, 2007

A Musical Journey

Choral Music, c.1050-2000

Buckfast Abbey

• I found myself in Buckfast Abbey by default on Saturday 23rd June. Friends had told me about Counterpoint and knowing about my love of renaissance music, they told me that I would love the music your choir perform. How right they were. My wife and I were transported from the opening moments with the men chanting near the High Altar, to the closing climactic notes of Whitaker's Sleep. The feelings we experienced were heightened by the beauty and depth of the choir's powerful performance. Outstanding!

Saturday 3rd March 2007

The Life and Death of King Charles I

Sacred & Secular Music from 1600 to 1649

Buckfast Abbey

with

Adrian Carpenter (organ)

• Saturday's performance was exquisite! Not least the programme - as always, so intelligent and informative, I defy anyone to say they hadn't learnt anything from it - a taster of things to come ... interspersed with such well executed organ pieces, It was the SINGING! A texture of sound so rich and smooth, there were times I felt I could reach out and touch it. (Michael Oliver)
• My wife Jean and I have been coming to listen to Counterpoint for the past fifteen years. Your concerts are very important to us. We have both sung in choral societies and choirs in the past and what we like most about your choir is the depth of emotion the voices bring to the music. The Ramsey, Byrd and Padilla motets were highlights for us - we can never get enough of 'Circumdederunt'! (Trevor and Jean Wilson)
• Is this the best Counterpoint concert ever? Our friends and the people who were sitting around us all seemed to think so! Every concert that the choir puts on is a revelation. We love the choice of music but the passion evoked by the singing of the choir is still the reason why we feel that your Buckfast concerts are the 'Best in the West'! (John Pengelly)

Saturday 28th October 2006

Requiem for the Fallen

Buckfast Abbey

with

Andrew Millington (organ)

Canon Ken Parry (poetry readings)

Richard Pratt (trumpet)

• ... we enjoyed everything about Saturday's concert, from the readings to the trumpet and organ playing and to, of course, the usual splendid choral singing.
• ... the singers were really on top form and it's difficult to remember when, if ever, they have sung better.
• Thank you all for a most memorable and moving evening. (Angela and Alan)
• Congratulations on the wonderful evening of music you produced at Buckfast on Saturday evening. Barbara and I were quite overwhelmed and grateful to be there. Thank you for asking me to take part. (Canon Ken Parry)
• ... I can only say thank you, thank you, thank you, for the amazing concert last evening. I know I say it every time but you just get better and better.
• The selection of music was at times haunting, and on reflection, soul searching.
• We really liked the inclusion of the poetry readings, - the gentleman's voice was just right.
• And then of course there was the trumpet, well what else can I say?
• More, more, more, please. (Mary and Pat)
• ... Saturday night was ultimate! ... It was 'tingle city'. I heard so many comments of praise among the audience inside and outside the Abbey. As I was leaving, there was a girl thanking her friend for bringing her to 'this wonderful evening'. (Michael Brech)

Saturday 1st July 2006

Masters of Baroque Music

Buckfast Abbey

with

James Bowman (countertenor)

The Divertimento String Quintet

• HEAVENLY MUSIC!
• A truly outstanding concert was given at Buckfast Abbey on Saturday, 1st July – when Counterpoint's skilful and deeply-musical director, David Acres, presented their latest contribution to a large and extremely appreciative audience. These hugely-talented singers, together with the astonishingly beautiful voice of James Bowman and brilliantly accompanied by the Divertimento String Quintet, enraptured those fortunate enough to have acquired tickets to hear them in the wonderful acoustics and surroundings of Buckfast Abbey, on a perfect summer's evening. Entitled Masters of the Baroque, the music included works by Handel, Vivaldi, Bach and Ugolini.
• The sheer perfection of musicianship was nothing short of miraculous – and afterwards was variously described as “out of this world”, “transporting” and “magical”! It was definitely their ‘best ever' concert [we say that every time!] and their devotees are already looking forward to the next one, which will be on Saturday, 28 th October at Buckfast Abbey and is entitled Requiem for the Fallen. (Annette van Oppen)

Thursday 8th June, 2006

The Coronation of King George II, 1727

Exeter Cathedral

• ... congratulate you on a fine performance of the 'Coronation of King George' ... It was truly magnificent in so many ways. Of course the cathedral was so much the right building for it, allowing us to soak in all that sound!
• ... The trumpets were very fine indeed and the drums added considerably to the feeling of anticipation ... quite magical even before the singing started!
• The Coronation anthems always stir one immensely but your interpretations did this without the anthems being 'over sung', and in such a steady, measured way that allowed the excitement to build gradually!
• I do congratulate you on the high standard of the singing, just wonderful voices, and at one stage the counter tenors came through particularly magically. (Letter from Paul, Devon)
• I think you hit the jackpot on Thursday evening with the wonderful rendition and performance of 'The Coronation of George II 1727'. You must have been so proud of the singers, the organ music, the drums, trumpets and the silky narration.
• It was a wonderful evening. All the comments I overheard afterwards, were so positive and admiring. The quality of your production and use of the nooks and crannies in the Cathedral to create some memorable sound effects, resulted in a concert to be remembered. (Letter from Graham Deasy, Chair, Exeter Cathedral Parents Association (Matthew Locke Society))
• Many thanks for joyously fulfilling all your avowed aims in Counterpoint's music-making; last night's concert was a great delight, with a thrilling use of the Cathedral's spaces - particularly memorable were those first fanfares from the West end and the lovely singing of the Tallis Litany from the East end and processionally back to the Crossing. The final sound of drums beating towards the Chapter House wonderfully echoed this. (Letter from Richard, Exeter)

Saturday 17th December 2005

Christmas Carol Service

Buckfast Abbey

• An hour of beauty is too short! Thank you for heaven on earth! (Michael Cullen)

22nd October 2005

The Coronation of King George II, 1727

Buckfast Abbey

• Like everybody else in the capacity audience at the Abbey on Saturday evening, we were completely entralled with the sheer quality of Counterpoint.
• Such words as 'gusto' and 'wellie' sprang to mind, but clearly these terms should not be applied to such eminently professional musicians!
• It was apparent however that they were all enjoying themselves immensely and your 'Zadok' must have been the best-ever rendition.
• We were left wondering how much better Counterpoint would have been when compared to the actual event all those years ago. Thank you all so much from my crowd. (Di and Bill)

July 2005

Tour of Brittany, France

• L'église Notre Dame des Carmes, Pont l'Abbé
• This choir, specialising in sacred music, has mastery of an amazing repertoire stretching from the 15th Century to the present day. The strength of the voices is matched only by their sensitivity and subtlety. All types of voice were present, fine light sopranos, marvellous male countertenors, superb tenors and the deepest basses. (Ouest France - August 2005)
• L'église Saint-Budoc, Beuzec-Cap-Sizun
• The vaulted roof of the Saint-Budoc church resounded on Saturday with the 'voices of angels from paradise'. Led with an iron hand in a velvet glove by their director David Acres, Counterpoint gave great pleasure to the Breton public by presenting works not often performed in France. This English choir, who perform regularly in Brittany, demonstrated their power and technique through a choir of equal numbers of men and women. Unusual for this side of the channel there are six countertenors who, with the whole choir, brought great joy to the audience in their interpretation of composers of polyphonic sacred music from the 15th century. (Ouest France - August 2005)
• Quimper Cathedral 'The Splendours of Polyphony'
• On their last visit in October 2003 the Counterpoint Ensemble left us wanting more. On Friday this English choir sang in Quimper Cathedral and it was a true delight. With a gentle but firm gesture, David Acres invited his singers to strike up 'Loquebantur variis' by Thomas Tallis. The choir gave the joyful illusion of chiming bells. The choir then proceeded to enchant its public, and we were able to fully appreciate the beauty of all the voices. Light sopranos, rich countertenors, inspired tenors and basses adding depth and colour here and there, we truly bathed in happiness. From the moving Drop, drop slow tears by the inspired Orlando Gibbons, through to the marvellous light and shade in Circumdederunt me dolores by the Mexican Padilla, and on to the austere and blazing light of Rachmaninov's Ave Maria, Counterpoint showed us the many splendours of polyphony. (Le Telegramme, Brittany - August 2005)

28th May 2005

Armada Concert

Buckfast Abbey

• A pair of hoary old choristers arrived at Buckfast Abbey on Saturday evening, not knowing what to expect [it was their first time at a Counterpoint concert] but being prepared to make constructive criticism or even give advice if required! To say that we were pleasantly surprised is a huge understatement because the evening was simply beyond our highest expectations.
• What an array of beautiful voices with each one so obviously enjoying giving great pleasure to the 'full house', with such confident precision and clear diction. (Bill Ridgeway)

5th March 2005

John Sanders (1933–2003) – In Memoriam

Buckfast Abbey

• Thank you so much for an absolutely wonderful concert on Saturday. It was the most sublime sound, superb blend, control and expression. I was transfixed by the Mawby, the Tavener Bridal Chamber and by much of the Sanders pieces. Do also tell Lucy how much I adored the In Paradisum.
• And it was the most stunning and moving rendering of the Purcell that I have ever heard or taken part in...
• Very uplifting. Thank you, Heather Kershaw

• More information about John Sanders is available from The Sanders Society

22nd September 2004

Counterpoint with James Bowman

Exeter Cathedral

• ...I write to thank and congratulate you for your inspiration in sponsoring such a spell binding concert in the Cathedral yesterday evening with Counterpoint and James Bowman. It was a memorable performance throughout and one which, despite the hour, kept the audience spellbound and engaged from the first to the last note. (Letter to Roger Wilkinson (concert sponsor) from Adrian Miller, Solicitor, Foot Anstey Sargent, Exeter)
• ...This was superb! It was magnificent. The audience was entranced. It left us speechless... except to say, please keep four tickets for the [forthcoming] Buckfast concert...as I'm sure it will be a sell-out. (Letter from Annette van Oppen, Topsham, Exeter)
• ...many, many congratulations on a superb concert last night. I enjoyed all the pieces but in particular the Padilla motets - and the Tourdion! The Tallis [Spem in Alium] made a stunning finale. It was a wonderful way to start the [Exeter Cathedral] appeal. (Letter from Andrew Millington, Director of Music, Exeter Cathedral)
• ...The performance was superb and clearly must have involved tremendous planning and practice. I was overwhelmed by the sound produced by the enlarged choir. Judging from the comments of the people sitting around me, all singers to some degree it appeared, interestingly enough, I was not alone in having enjoyed a wonderful and profound concert. Well done to you and the choir - looking forward to more! (Letter from Marjorie Bailey, a long-time supporter of the choir)

From past appearances

2003 and before

• 'The church was full for Counterpoint's concert in the Romanesque Church at Locmaria. There was a particular emphasis on intimate works with intense variation, allowing the full expressiveness of the voices to be heard. The Perotin le Grand performed by a small male group had an austere and luminous beauty. The tenderness of 'O vos omnes' by Gesualdo was perfect for the ensemble singing of the whole choir. The soprano line in the classic 'Funeral Ikos' by Tavener is full of energy and contrasts. The highlight of the concert was the splendid 'Quae est ista' by Ugolini, a polyphonic firework display. We must mention the marvellous 'Lux aeterna' by Elgar in which the choir excelled. And then the icing on the cake: 'The Reproaches' by John Sanders, a prayer, performed with intense emotion, a superb end to the concert. As we've come to expect, Counterpoint exceeded all oue expectations. If paradise exists, Counterpoint will be performing at the entrance... (Le Telegramme 27/10/03)
• This is just to say that Gary and I thought that the concert which Counterpoint gave last Saturday was superb - so many absolute gems, concluding with a magical performance of Hear my Prayer. We are very fortunate to have a choir of such quality in the South West. (Jane & Gary)
• Your concert in the Cathedral this May provided a truly wonderful evening and I have heard so many comments from those who felt it was one of the best concerts held in the Cathedral for many years. Congratulations, I am certain that if you decide to repeat the event next year it will again be a sell out!! (Sir Gordon Shattock)
• ...we merely had to sit back and let the glorious sounds emanating from the 30-strong singers (a critically acclaimed Chamber choir from Exeter - under its able conductor, David Acres) drift across to us. As for the tapestry of sound, it did indeed sound like heavenly voices, and I for one pray that when I finally make it through those pearly gates, one of those heavenly choirs will be the immensely enjoyable Counterpoint...and, as if by confirmation, the audience at the conclusion of the concert continued their applause until the very last member of the choir had left the auditorium. (David Flatau - Estuary Magazine, Devon 2000)
• British Choirs are considered to be the best in Europe. Who could contradict this after hearing Counterpoint last Monday at Saint-Vinoc as part of the Festival des Chapelles du Cap-Sizun. How could we not be moved by their voices which dissolve, then emerge, then exhale in a splendid redolence of sound that elevated the soul. David Acres has obviously been the force and guide behind what was truly a revelation for many in the audience. (Ouest France)
• Last Tuesday the Kervin Chapel resonated for two hours with some of the most intense religious music. The Counterpoint Choir from Devon (England) performed a concert which delighted and dazzled the approximately 200 people present. To find such enchanting music in such a magnificent venue is a rare event. David Acres demands a lot of personal investment from his singers, a high technical ability, a good knowledge of music, as well as the ability to express high emotion and work together. The result lives up to his expectations: a vocal group of great cohesion and wonderful sensitivity. (Ouest France)
• I do hope you were in Exeter Cathedral last night. You would be hard put to find a better performance of Haydn's great oratorio, The Creation. If there were faults, I never heard them. The performance by the Bournemouth Sinfonietta and that outstanding local choir Counterpoint, was warm-hearted and dramatically strong; atmospheric and lively; conducted by Tamas Vasary with enough tension to make the big choruses outstanding. Compulsive listening from start to finish. (Express & Echo, Exeter)
• A small chamber choir, Counterpoint is fortunate in both the individual quality of voices and the thoughtful direction of its conductor David Acres. The equality of the voices was especially beneficial to the close-knit textures of one of the evening's most notable performances in John Tavener's Funeral Ikos. This beautiful work found Counterpoint alive and resonant to the lines for the Funeral of the Clergy. The concert finished with the deeply moving Requiem by Herbert Howells. In this performance, Counterpoint revealed their true potential. They are a very fine group indeed. (Western Morning News, Devon)
• On Sunday evening, Counterpoint from England literally enchanted over 300 music lovers gathered in Quimper Cathedral. The concert was truly captivating as the singers and their director took us on a heavenly stroll through sacred music from the 13th to 20th Century. All the time the members of Counterpoint were approaching perfection. This is so rare that it deserves to be emphasised. In truth, a fine evening! By its consistent balance, by the flexibility of the singers and by the compelling authority of the conductor, Counterpoint gave us a magnificent musical lesson. (Le Télégramme, France)