Samson – Musicweb Review

Simon Thompson, Musicweb

In short, this is superb, the best Handel oratorio I’ve heard in years.

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Requiem Aeternam – Seen and Heard International Review

Simon Thompson, Seen and Heard International

With such beautiful singing and, particularly, intelligent programming, every component of this programme was exquisitely formed…

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Requiem Aeternam – The Herald Review

Keith Bruce, The Herald

★★★★

… the variety of tonal colour this group of singers blended to produce made an otherwise very full and often fascinating sound.

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Requiem Aeternam – The Scotsman Review

David Kettle, The Scotsman

★★★★★

An exceptional evening of music, deeply thoughtful, compassionate and nourishing.

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Samson – BBC Radio 3 Record Review

Andrew McGregor, BBC Radio 3

As Samson, Joshua Ellicott navigates the tightrope between opera and oratorio really well … That’s one of the joys of Butt’s new recording, revelling in the dramatic colour of Handel’s imaginative scoring.

Listen to the full review here.

Samson – Planet Hugill Review

Robert Hugill, Planet Hugill

★★★★★

Butt’s thoughtful and intelligent response to Handel’s music gradually seemed to be most natural and created a finely satisfying whole … a profound response to Handel’s music and Milton and Newburgh Hamilton’s words.

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Samson – The Herald Review

Keith Bruce, The Herald

With the Consort’s best instrumentalists in place and Linn Records’ Philip Hobbs producing, this is an immaculate, and hugely important, recording. More prizes assuredly await.

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Prom 71 – Bach Night – The Times Review

Neil Fisher, The Times

★★★★

‘There was a frisson from hearing period instruments used in such unexpected ways… [Butt’s] lively tempos produced plenty of lithe, energetic playing, and enough body in the strings to bring the music out into the vastness of the space. ‘

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Prom 71 – Bach Night – Classical Source Review

Andrew Neill, Classical Source

The Consort, with a strength for the Royal Albert Hall of over forty, provided a glorious, rounded, sound without compromising leanness.

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Prom 71 – Bach Night – Seen and Heard International Review

Agnes Kory, Seen and Heard International

‘The most astonishing aspect of this concert was the unity of players within each section, and the unity of the newly commissioned Bach companion pieces with their designated Suites… the oneness of the flutes gave an extraordinary demonstration… I heard only one while my eyes saw all three. The virtuoso movements of the Bourrées and the final Badinerie are hard enough for one player but three players blending their virtuosity to such extent is mind-blowing.’

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Lammermuir Festival – Opening Concert – The Herald

Keith Brown, The Herald

★★★★

[Dunedin Consort] play baroque music with a vivacity few can match.

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Lammermuir Festival – Opening Concert – The Times Review

Simon Thompson, The Times

★★★★★

John Butt conducts Bach’s eternal masterpieces as though the music were the elixir of life. Silky strings, spicy winds and raucous horns gave the music a colour that any baroque ensemble would envy, and Cecilia Bernardini’s violin solo in two Vivaldi concertos flowed in and out of the ensemble with organic flexibility.

Read the full review here.

Lammermuir Festival – Prestongrange Church – The Scotsman Review

Ken Walton, The Scotsman

★★★★★

Joy, passion and precision… it was as though Butt and his players were rediscovering this well-known music afresh all over again, and taking their listeners with them

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Lammermuir Festival – The Telegraph Review

Rupert Christiansen, Ivan Hewett, John Allison & David Kettle, The Telegraph

★★★★★

Dunedin Consort’s four-concert survey of Bach and Vivaldi might have seemed like a safe choice, but they imbued their playing with such wild energy and variety that it was anything but.

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Bach Harpsichord Concertos – Edinburgh International Festival – Scotsman Review

Susan Nickalls, The Scotsman
★★★★★

To hear Bach played on an instrument from the world-class collection at St Cecilia’s Hall offers a privileged glimpse into how the composer’s music might have sounded at the time.
…Suzuki’s hands moved seamlessly between the two manuals adding to the drama of this richly scored work. The accompanying period instruments produced a lively orchestral sound centred around the dynamic viola interactions with the harpsichord.

Read the full review here.