Reviews for Mater ora filium, 2016
"eloquent and translucent singing" - San Francisco Chronicle
"The climax of the disc is the title track, Arnold Bax’s multi-section eight-voice 'Mater ora filium', and here the choir excel themselves, with radiant top Cs from the sopranos and a wide dynamic and expressive range. It’s beautifully shaped by Ross, and sets the seal on a treasurable release.... Just the thing for those who like to continue their seasonal celebrations into the New Year, and a splendid addition to the choir’s ongoing series." - Europadisc
"With rewarding and varied music, marvellously performed, this disc is a sure-fire winner." - MusicWeb International
"...Clare College has emerged in recent years to the pinnacle of international recognition, and the fact that Graham Ross corrals these young men and women, who turnover every year, into such a unified and tonally suave unit is a testament to his innate musicality and leadership." - **** Audiophile Audition
Reviews for Remembrance, 2016
“Graham Ross’s programme binds the Tudor grief of Tomkins and Weelkes with romantic Elgar and the hallucinatory stasis of Tavener’s ‘Song for Athene’. In the ideal ambience of Lincoln Cathedral, Ross and the Choir of Clare College, Cambridge, rise to a high-class performance [of Duruflé’s Requiem] that breathes an elevated air of Gallic sensuality and measured grandeur.” - **** The Financial Times
“Sublime … I’ve never had such a reaction to my Album of the Week” - John Suchet on Classic FM, Album of the Week
“Thoughtfully conceived…expertly performed…the Clare College Choir is among the finest of the UK collegiate choirs” - MusicWeb International
“A very polished performance … lovely singing” - opera ramblings
“This is a gorgeous disc” - St Louis Post-Dispatch
Marc Rochester on The Choir of Clare College's concert at Yong Siew Toh Conservatory Concert Hall, Singapore, September 2016
"There can be very few people in the Singapore choral scene who have not encountered the work of John Rutter. What would any choral concert be - especially at Christmas - without his lovely arrangements?
This recital by the choir of Clare College Cambridge ended with a moving little piece which Rutter had written especially for them. He owed them that, for it was through the music he arranged for this choir when he was its conductor during the 1970s that his international reputation was made. There was also a clever arrangement of Summertime by the current conductor, Graham Ross, an over-the-top one of Nobody Does It Better by another British choral arranger, Jim Clements, and a very animated medley of American folk tunes arranged as an almost manic piece of choral chatter by Ward Swingle. For the most part, however, the Clare College Choir chose to perform for its Singapore debut concert the core English repertory which it sings on an almost daily basis in its Cambridge University chapel. This ranged from the English Reformation of the 16th century - Byrd's Laudibus In Sanctis - to the almost hypnotically atmospheric setting of Come Holy Ghost written in the 21st century by Jonathan Harvey. For this, the choir members spread themselves out all around the auditorium and up in its galleries too, creating a most extraordinary and captivating surround- sound effect.
Music with a strong connection with the college figured prominently. A breath-taking, jazz-infused Magnificat by Giles Swayne, a former composer-in-residence, found the choir dancing nimbly over its monumental technical complexities. And the delicate part-song, The Bluebird, by a former professor of music, Charles Stanford, showcased the extraordinarily soft and caressing tone Ross coaxes from his student singers.
Mostly, the choir performed unaccompanied. In Pierre Villette's mouth-wateringly luscious Hymn To The Virgin and William Harris' ravishing Faire Is The Heaven, the sound it produced was almost mind-blowing in its opulence. But this concert also marked the first public outing for the conservatory's new pipe organ.
In Bach's funeral motet and Purcell's Jehova, quam multi sunt, organist Michael Papadopoulos revealed that this new instrument sounds every bit as beautiful as it looks.
The German baroque works perhaps exposed a lack of stability within the choir, but in the English songs, it was never less than outstanding.
Unconducted and unaccompanied, it gave a fabulous account of a Vaughan Williams folk song, while in Britten's terrifically challenging Hymn To St Cecilia, it showed that, in addition to being a vehicle for good choral arrangers, it is also a world-class choral group." - The Straits Times
Reviews for 'Haec dies: Music for Easter', 2016
"The sound is exceptional, and the resonating commitment of these young musicians easily belies their youth. The mix of composers and periods is apt and successful, making for an adventurous and entrancing hour of Paschalia" ★★★★★ - Audiophile Audition
"... beautifully sung ... the narcotic account of Taverner’s 'Dum transisset' which follows is exquisite" - Early Music Review
" ... This recording is every bit as desirable as its predecessors. ... The Choir, subtlety modulated by conductor Graham Ross, spins a wonderfully fluid, mellifluous texture. ... These are, all told, performances of real quality and intelligence, by a choir which has carved a highly distinctive niche for itself amid the Oxbridge scramble'" 4.5 stars - BBC Music Magazine
"Despite the annual change of personnel that is inevitably part and parcel of collegiate choirs the Clare College choir achieves remarkable consistency – and excellence." - Musicweb International
"I can't think of a better collection of music for Easter." - Musicweb International
"The choral singing is formidable throughout, with a combination of full-bodied, translucent textures and eloquent phrasing." - San Francisco Chronicle
"This latest release in an on-going survey of the church year from Graham Ross and the Choir of Clare College, Cambridge is well worth hearing. ... In all there are four plainchants and 17 other pieces, all sung very well and those looking for some first rate choral singing for Easter will not be disappointed in this collection." - Cross Rhythms
"The liturgy for Easter Day is beautifully explored. Most of the works on the recording are superbly rendered polyphony. ... This recording is a fine addition to the too-small shelf of Easter music." - The St. Louis Post-Dispatch
"Clare College Choir set the gold standard for mixed collegiate choirs and maintains its prowess in this disc of Easter music. ... Matthew Martin's new setting of Haec dies, ear-catching and spirited, receives its world-premiere recording. Rachmaninov’s Dnes’ spaseniye has a dark resonance, complemented by the full harmonies of Samuel Wesley’s Blessed be God and Father. ... Dic nobis Maria by the Venetian Giovanni Bassano goes with a real swing and might have been composed yesterday." - The Guardian
"... the tone is predominantly uplifting in its celebration of the Resurrection ... virtuoso singing" ★★★★ - The Financial Times
"The Choir of Clare College, Cambridge, has been maintaining consistently high quality since Graham Ross assumed its directorship in 2010. ... Its latest release is a smartly programmed collection of choral music relating to Easter, all of it of topmost caliber. ... Timbres and textures are carefully balanced, and the program is captured in a vivid but not overly reverberant acoustic. ... Elegantly rendered selections of Easter plainchant weave through the recital, including the supremely beautiful Easter sequence 'Victimae paschali laudes.' It’s hard to name favorites in this collection, but listeners will doubtless hit the replay button after Byrd’s jubilant six-part 'Haec dies' and Lassus’ spacious, polychoral 'Aurora lucis rutilat." - The Santa Fe New Mexican
"...the ensemble [is] very nicely coordinated with clear lines and lovely choral sound, led by those bright and beautiful and judiciously balanced sopranos ... Anyone who’s a fan of the Clare College Choir will not hesitate to add this disc to their collection." 9/10 - ClassicsToday
Reviews for 'Requiem: Music for All Saints & All Souls', 2015
"...the Choir of Clare College, conducted by Graham Ross, summons all its eloquence for a masterpiece of the genre." - The Financial Times
"...it's a tribute to the excellence and commitment of these young singers" - Musicweb International
"...all the pieces on this disc are performed with Clare's customary accomplishment and minute attention to musical detail..." - Gramophone
“a marvellously sustained and thought-through performance by the Clare College students...Careful but unobtrusive detail is paid to dynamic detail...a firm, enthusiastic recommendation.” - BBC Music Magazine
"The university choir of Clare College, Cambridge, under the direction of Graham Ross, were in resounding form".
Express | April 2015
Clare Colvin on the Choir's performance of Mozart Requiem Mass in d minor with the Aurora Orchestra at King's Place, London
Reviews for 'Ascendit Deus: Music for Ascensiontide & Pentecost', 2015
"Ascendit Deus' distinguishes itself not only through expert singing, but through a program that hangs together very well... a state-of-the-art seasonal sacred recording, beautifully engineered." - All Music
"splendidly bright...vigorous...haunting effect...all beautifully performed by this accomplished choir. Let’s hope an Easter disc is on its way." - Gramophone
Performance | ★★★★ Recording | ★★★★ - BBC Music Magazine
"I love the idea of this disc, and I loved the hidden treasures. The performances, as expected, are top notch." - The Buffalo News
"beautifully blended choral sonorities … [this] superb recording serves as a sonorous reminder of the British choral tradition and its vibrant contemporary life" - Opera News
'"the young singers moved crisply and adroitly through a packed program...Graham Ross, the group’s director, capitalizes on youthful energy with brisk tempi, and lets his singers be themselves."
Washington Post | December 2014
Anne Midgette on the Choir's performance at the Library of Congress, Washington D.C.
Reviews for 'Lux de Caelo: Music for Christmas', 2014
No. 8 in UK Specialist Classical Charts
Album of the Week - WQXR Public Radio, New York
Album of the Week - Radio 4, Netherlands
"One of the best recordings of the season" - BBC Radio 3 CD Review
"This might just be the best disc of the year. These young voices are game for anything, impeccably drilled and musically sensitive" - Sinfini Music
"an enthralling seasonal experience, sung with passion and warmth" - Audiophile Audition
"A major winner in the British holiday album genre." - All Music
“Mathias's A babe is born typifies the choir's nimble alacrity, crisply accompanied by the Dmitri Ensemble.” - BBC Music Magazine 2014 ★★★★
"spine-tinglingly skilful" - Gramophone Magazine
"A little special...it works brilliantly.... There is plenty here to celebrate" - MusicWeb International
"The Schoenberg at the end is radiant" - Financial Times, ★★★★
"This is an outstanding disc. ... I find it hard to believe that the music has ever been better sung than in this searing performance by the Clare choir"
MusicWeb International | April 2014
John Quinn on 'Stabat mater dolorosa: Music for Passiontide'
"Ross draws fine performances from his young singers"
Planet Hughill | April 2014
Robert Hugill on 'Stabat mater dolorosa: Music for Passiontide'
"carefully chosen, elegantly sequenced, excellently sung: one of the most attractive new Easter recordings of the year"
BBC Radio 3 ‘Building a Library’ | April 2014
Andrew McGregor on 'Stabat mater dolorosa: Music for Passiontide'
Financial Times | April 2014
Andrew Clark on The Choir's Peace and Celebration: Handel: Coronation Anthems, Ode for the Birthday of Queen Anne’ with the European Union Baroque Orchestra, directed by Lars Ulrik Mortensen
"Graham Ross...cultivates a harmonious balance between music-making for the head and powerful expression for the heart. The approach delivers outstanding results… His choristers reflect the exceptional quality of Cambridge collegiate choral singing, arguably finer today than ever”
Sinfini Music | March 2014
Andrew Stewart on 'Stabat mater dolorosa: Music for Passiontide'
"not only a collection of some of the most beautiful choral music to be heard but exciting evidence of the evolving and unique identity of the choir itself. ... All the works on this disc [have] been extensively and intelligently crafted. The singing and, above all, direction are of such consummate musicianship"
Gramophone | March 2014
Caroline Gill on 'Stabat mater dolorosa: Music for Passiontide'
"highly sentient, technically excellent performances...atmospherically recorded"
Performance | ★★★★ Recording | ★★★★★
BBC Music Magazine | April 2014
Terry Blain on 'Stabat mater dolorosa: Music for Passiontide'
"Warm yet pure-toned emotion pours from these 27 voices, and a fine corps of basses grounds the whole with exemplary gravitas."
Choir and Organ | February 2014
Rebecca Tavener on The Choir of Clare College's disc 'Stabat mater dolorosa: Music for Passiontide'
"The choir were in stunning form, taking the faster passage-work with a wonderful deftness, but also bringing a bright, focussed young tone to all the music and a remarkable attention to detail. ... The choir was fully responsive with a remarkable attention to text There were moments of ravishing tone, such as in the Et incarnatus est and Crucifixus. ... I went away amazed at the assurance and technical facility of the Choir of Clare College, Cambridge."
Planet Hugill | December 2013
Robert Hugill on The Choir of Clare College singing J.S. Bach's B Minor Mass with the Aurora Orchestra, directed by Nicholas Collon, December 2013
"There was real musicianship on display here. ... Clare Choir's contribution stood pretty much beyond reproach".
Boulezian | December 2013
Mark Berry on The Choir of Clare College singing J. S. Bach's B Minor Mass with Aurora Orchestra, directed by Nicholas Collon, December 2013
“Tavener’s flair for drama is here; so are the influence of the Russian Orthodox liturgy and his gift for writing melodies and harmonies that are hard to shake off. The rest of the programme is attractive enough, but among the Howells, the Rutter and Rachmaninov, Tavener’s five minutes act like a bolt of lightning...Here is music with the power to transform your life.”
The Times | November 2013
The Choir of Clare College's disc 'Veni Emmanuel: Music for Advent'
This is a marvellous programme of Music for Advent and it is executed superbly by the Clare College Choir. It’s obvious that the standard built up during Timothy Brown’s long leadership, especially, has been fully maintained by Graham Ross.”
MusicWeb International | November 2013
The Choir of Clare College's disc 'Veni Emmanuel: Music for Advent'
"The Choir of Clare College, Cambridge, offered fine performances, by turn angry and devotional, as text and role required. The turba choruses were vivid, the chorales heartfelt but clear-eyed. Diction, moreover, was thoroughly excellent."
Boulezian | March 2013
Mark Berry on The Choir of Clare College singing J. S. Bach's St John Passion with Aurora Orchestra, directed by Nicholas Collon, March 2013
"The choral singing – the London Philharmonic Chorus, with the Choir of Clare College, Cambridge, supplying the semi-chorus – was unstintingly sumptuous and secure."
The Guardian | January 2013
Andrew Clements on The Choir of Clare College singing The Dream of Gerontius with the London Philharmonic Orchestra and Chorus, directed by Sir Mark Elder, January 2013
"The Choir of Clare College, Cambridge were on excellent form. ... They sounded very much as the best of the English choral tradition. ... There was seraphic beauty to be experienced from Clare’s voices ..."
Seen and Heard International | January 2013
Mark Reed on The Choir of Clare College singing The Dream of Gerontius with the London Philharmonic Orchestra and Chorus, directed by Sir Mark Elder, January 2013
"The Choir of Clare College (director Graham Ross) sang the semi-chorus parts, singing with superb control and providing the still small voice amidst the grander choral gestures"
Planet Hugill | January 2013
Robert Hugill on The Choir of Clare College singing The Dream of Gerontius with the London Philharmonic Orchestra and Chorus, directed by Sir Mark Elder, January 2013
"The two choirs had all the necessary power for the big choral moments, with a marvellously terraced sound that suggested vast distances"
Classical Source | January 2013
Peter Reed on The Choir of Clare College singing The Dream of Gerontius with the London Philharmonic Orchestra and Chorus, directed by Sir Mark Elder, January 2013
"The Choir of Clare College, Cambridge served as the spiritual semi-chorus. ... Impeccably drilled"
The Arts Desk | January 2013
Alexandra Coghlan on The Choir of Clare College singing The Dream of Gerontius with the London Philharmonic Orchestra and Chorus, directed by Sir Mark Elder, January 2013
The Choir of Clare College, Cambridge, is one of the various nurseries for future BBC Singers and an organisation that’s undergone major change in recent years with the departure, after distinguished decades in office, of Tim Brown as music director and the arrival of the young, thrusting and prodigiously talented Graham Ross as his successor.
Ross is not much older than his singers, but his discipline is strong, secure and musically astute. He shapes and phrases with real mastery. And for this concert at St John’s, Smith Square, he devised a fascinatingly non-standard programme that included three versions of In dulci jubilo in rapid succession (one by Ross himself), a rare outing of Schoenberg’s Friede auf Erden (which is totally on-message for Christmas but something few choirs would think of throwing into a carol concert), and a period-conscious performance of Stille Nacht with the sort of 19th-century guitar that would have accompanied the original performance (given that the carol was written for a village church where the organ wasn’t working).
For good measure we also had a new, extended choral work, Uncommon Prayers, written with characteristic maverick quirkiness by Clare’s current Composer-In-Residence, Giles Swayne. And inevitably there was something by John Rutter, who was Tim Brown’s predecessor at Clare and will forever be associated with its choir. Sadly, it wasn’t the one Rutter carol that I truly love, What Sweeter Music, but the earlier, cheesier Nativity Carol which I don’t love but I understand why others do. You have to make allowances at Christmas.
The Catholic Herald | 4 January 2013
Michael White on The Choir of Clare College, Cambridge at St John's, Smith Sqaure 2012
"Thrilling... A tribute to the superb ensemble singing of the Choir of Clare College under Graham Ross, who has trained with choir with its impeccable ensemble. Clear, well-defined recording
Gramophone | October 2012
Edward Greenfield on The Choir of Clare College, Cambridge and The Dmitri Ensemble's disc of Imogen Holst Choral Works for Harmonia Mundi
"These performances are poised, immaculate.
Performance ★★★★ / Recording ★★★★"
BBC Music Magazine | September 2012
Malcolm Hayes on The Choir of Clare College, Cambridge and The Dmitri Ensemble's disc of Imogen Holst Choral Works for Harmonia Mundi
"This programme, all of which is new to disc, shows her terrific gift for textured harmony, drama and vocal beauty. Performances and recording are of the highest standard, as one might expect." «««««
Classical Music Magazine | September 2012
The Choir of Clare College, Cambridge and The Dmitri Ensemble's disc of Imogen Holst Choral Works for Harmonia Mundi
"The choir responds skilfully under Graham Ross... admirably committed performances from the Choir of Clare College and The Dmitri Ensemble, in very fine sound"
International Record Review | September 2012 John Warrack on The Choir of Clare College, Cambridge and The Dmitri Ensemble's disc of Imogen Holst Choral Works for Harmonia Mundi
'The choir's rich yet clear sonority and firm yet delicate expressiveness made the strongest possible impression.'
'The real surprise, however, came from the sheer volume of sound issuing from such small forces - especially true of the choir, so well drilled by its director, Graham Ross, and the soloists in the famous final Ode to Joy movement.'
'This was Beethoven for the 21st century - and for the 19th.' - William Yeoman - The West Australian
Beethoven Symphony No. 9 - Australia Tour (Perth Concert Hall Performance) - 15 August 2012
'The first Beethoven piece Calm Sea and Prosperous Voyage from his middle period introduced us to the exquisitely honed skills of the Choir of Clare College, Cambridge. This band of young performers is touring with the ACO this season and is preceded by a justifiably high profile and even higher expectations.'
'The Choir were the highlight of the symphony. They have a youthful voice and vigour of presentation which brought a brightness and newness to the familiar choral movement. Strong individual sections ranged from distant and floating in some passages to authoritative and demanding of attention in others. The men in particular offered a hugely substantive range; more than just an under-current but a dominant and driving force to match the parts given by Beethoven to his solo male singers.'
'Young voices, confident and energetic demanded to be heard and presented an undeniably attractive departure from the formality and grandeur associate with this work.' Gregory Pritchard - Concertonet.com
Beethoven Symphony No. 9 - Australia Tour (Hamer Hall, Melbourne, Performance) - 12 August 2012
'The Choir of Clare College (directed by Graham Ross) took to the top section of the Hall – above the platform – and sang with great and subdued beauty in the first half (‘Calm Sea’), while opening up in the second section (‘Prosperous Voyage’) with a power that belied their relatively small size.'
'Truly one of the best concerts this year, and an interpretation of Beethoven that will remain with this critic for a long time.' - 5 stars - Tomas Boot - artshub.com
Beethoven Symphony No. 9 - Australia Tour (City Rectial Hall, Sydney, Performance) - 7 August 2012
'The first half of this work (Calm sea of Beethoven's Calm Sea and Propsperous Voyage) featured some exquisitely sensitive playing from the ACO and the opening quiet entry from Clare Choir was electric, drawing us into the music in a thoroughly engaging way. The choir’s first loud entry in the Prosperous voyage section hit us like a thunderbolt, providing the music with a truly thrilling moment, the choir demonstrating the vocal power of their talented young singers.'
'Following this we were treated to a performance of Brahms’ Geistliches Lied, with the organ part having been arranged for strings. This for me was one of the highlights of the concert. The performance had a wonderful organic nature to it, the musical phrases perfectly shaped, with each line blending with the next and perfectly timed. This was an unfussy performance where Brahms’ music was allowed to do the talking. The climax of each phrase reached its natural peak and was then allowed to die away naturally at its conclusion. As in the Beethoven in the second half, the choir performed from memory, delivering the music from the heart.'
'It is easy to forget that the Choir of Clare College, Cambridge is made up of students and there were only 29 of them competing against a full orchestra. Much of the last movement is consistently loud and high in the vocal range, although there were no signs whatsoever of vocal fatigue. The singers produced a full, vocally mature sound, filling the hall in an impassioned manner with Schiller’s great words of hope. The cheers at the end of the work and the standing ovation spoke for itself.' - 5 stars - Oliver Brett - Bachtrack.com
Beethoven Symphony No. 9 - Australia Tour (City Recital Hall, Syndey, Performance) - 7 August 2012
The choir of Clare College, Cambridge, was warm, true and magnificent, preserving the crucial line even in extreme high notes and problematic passages like the slow ''Seid umschlungen, Millionen!'' (be embraced, ye millions).'
'Messiaen's Prayer of Christ ascending towards his Father from L'Ascension, Beethoven's Calm Sea and Prosperous Voyage, and Brahms's Geistliches Lied set off the Ninth's splendour with sophistication.' - 4.5 stars - Peter McCallum - Sydney Morning Herald
Beethoven Symphony No. 9 - Australia Tour (Syndey Opera House Performance) - 5 August 2012
'Superlatives seem inadequate for this latest and consummate instalment of the Beethoven cycle by Richard Tognetti and the Australian Chamber Orchestra. In short, it is simply a triumph. Intoxicating and exhilarating, this is a performance for the history books.'
'With 84 musicians on stage - an expanded ACO buttressed by 30 young choristers from Clare College, Cambridge - the ensemble very nearly matched the original forces. Arguably, they created the sounds the deaf Beethoven was striving to hear. Shorn of the gargantuan forces deployed for hall openings and royal visits, here was clarity, precision and dramatic sweep.'
'For many of us, this Beethoven Ninth sets the bar well into the future.' Vincent Plush - The Australian
Beethoven Symphony No. 9 - Australia Tour (Llewelyn Hall, Canberra Performance) - 4 August 2012
'Clare Choir were wonderful in Saint Emilion. I took my father (Barry Brown, 1956) and some friends, it was a searingly hot evening but soothingly cool inside the old Eglise Collegiale. They put on an ambitious programme effortlessly - just beautiful. 'Clare Tooley (1989, nee Brown), former Choral Scholar
Bordeaux Tour - June 2011
'This was one of the occasions when that chemistry was exactly right - as good as any live account of the work I've heard in years. The singing of the London Philharmonic Chorus, with the Choir of Clare College Cambridge forming the semi-chorus, was full-blooded and intense, the playing of the London Philharmonic Orchestra utterly secure. 5 stars - The Guardian
'As for the London Philharmonic Choir, reinforced in the centre by the raspberry-robed choir of Clare College, Cambridge, their clear, fervent sounds were always the instruments of bliss.' 4 stars - The Times
The Dream of Gerontius - Royal Festival Hall, London - March 2011
'Lovers of choral music were given a treasurable lesson in sublime ensemble singing by the visiting Choir of Clare College, Cambridge.' - The Daily Page
USA Tour - September 2010
'If you ever needed confirmation of the fantastically high standard of choral singing that exists in the UK, look, or rather hear, no further than the Choir of Clare College, Cambridge.' - Classical Source
French music with the Schubert Ensemble - King's Place, London - June 2010
'[The Choir's] singing of the choruses was fresh, exacting, fired with energy, well punctuated and articulated; Brown's attention to text, dynamics, diction, language, pronunciation and phrase-endings is reflected in the enthralling performance of this choir.' - The Jerusalem Post
The Christmas Oratorio - Israel Tour - December 2009
'There's no doubt [Vaughan Williams] would have doffed his boater to the last recording...from Clare College...the sweeping energy and rich detail of Tim Brown's interpretation draw out the best from his young singers, in matters musical and mystical.' - Classic FM
'This performance, lovingly moulded and well balanced in the play of solo voices and full choir, is in the best tradition.' - Gramophone
'Compliments to the Naxos sound team for achieving clarity within a faithful representation of the St John's College acoustic...what impresses about this performance is the exceptional sense of shape, both in overview and in tiny details...This comes with a strong recommendation.' - BBC Music Magazine
CD Review - Vaughan Williams 'Sacred Music' - July 2009
'...exemplary choral clarity made even Stanford's Magnificat and Nunc Dimittis in A sound thrilling...starred firsts all round for the performers...' - The Times
BBC Proms: Prom 8 - 800th Anniversary of the University of Cambridge - Royal Albert Hall, London - July 2009
'...the Clare College Choir and soloist Raphaela Papadakis sang with great beauty...'
'...Timothy Brown's pacey direction illuminated the Requiem's often neglected dramatic dimensions rather than its more characteristic intimacy...' - The Guardian
Fauré Requiem - King's Place, London - May 2009