Let’s look back shall we?

DSC_01942015 has been an extraordinary year. It was the year in which John Potter, Rogers Covey-Crump and I took the Conductus project on the road. We sang concerts and led workshops in Bratislava, Beverley, Durham, Brussels, Radovlijca (Slovenia), and Brighton.

It is also the year in which I joined Cantabile – The London Quartet. This is a group with whom I sang back in 2012 and thought it unlikely that I would get the opportunity again. Since September, I have done 13 shows with them in Belgium, Germany and the UK including a charity concert for Bloodwise in the Royal Albert Hall in front of c. 6,000 supporters. And there was that trip to California in May…

JKnowles_Chris_TLQ_0183

Photo by Jonathan Knowles during a Cantabile – The London Quartet photo shoot.

I have also had the privilege of singing with Gothic Voices this year! This is a group whose recordings were always a first port of call for me while studying medieval music at university. And in 2015 I was offered the opportunity to sing with them. Extraordinary!

I also had the pleasure of performing and recording with The Brabant Ensemble and Ex Cathedra singing diverse music by the likes of Pierre de la Rue, Carl Orff (Carmina Buranna), James MacMillan and Alec Roth. And I made my first visit to Dartington with Ex Cathedra in the summer – what an amazing place.

I won’t bore you any further, but you can see that it has been a very exciting year and 2016 promises to be similarly so. We expect the final instalment of the Conductus series to be released by Hyperion on 26th February, and are looking forward to more concerts and workshops in Cambridge and Besalú (Spain). We also have plans to explore new repertoire so watch this space for more news on that. Cantabile’s diary continues to fill up with engagements in Europe, the first of these on New Year’s Day in Bad Kreuznach in Germany. I have also been invited back to sing with Gothic Voices again and will be travelling with the Brabant Ensemble too. There are also tentative dates for Ex Cathedra so a busy year ahead.

Which just leaves me to say that I am constantly overwhelmed by the unerring support that I receive from my family, friends and colleagues while undertaking these singing activities. I know every day that I am very lucky to be pursuing this career and am extremely grateful for the constant love and support!

Wishing you a very Happy New Year!

#Conductus2015 begins

conductus rehearsalSo, after a relatively quiet* January and February,  my journey with the Three Medieval Tenors for 2015 is about to begin. We sing our first live show in the Dom in Bratislava on Monday the 16 March. This is the first in a series of shows we will be doing across the UK and Europe throughout 2015 and the early part of 2016. All of these performances will include a workshop allowing audiences a chance to experience this extraordinary repertoire in a more interactive way. These are open to all and will likely to free of charge, so please do come and join in at a show near you. So far, our itinerary looks like this; Beverley Early Music Festival, Durham, Brussels (as part of the MedRen conference), Radovljika – Slovenia, Nieder-Olm – Germany, Brighton Early Music Festival and Cambridge (2016). This is just the start and we are in negotiations with a number of other promoters to secure further dates. I’ll update as soon as I can. You can also find out more by following the Three Medieval Tenors on twitter @3MedievalTenors

Following this, I will be heading to London to perform Carmina Burana With Ex Cathedra and Birmingham Royal Ballet. If the other large scale Ex Cathedra collaborations are anything to go by, these 4 performances at the Coluseium in London will be awesome. It was a great privilege to sing two new works written for Ex Cathedra earlier in the year too – by MacMillan and Panufnick. A live recording was made and I hope to be able to share this sometime in the future. It is music that really must be heard by a much wider audience.

Finally, I’m pleased to be joining Cantabile – The London Quartet again in April for a performance in California. It has been nearly three years since I sang with the group and things have changed a little since then. I’m really looking forward to meeting their new member Sarah-Ann Cromwell, and to relearning some of TLQ’s classic repertoire together!

*Other activities included singing at the consecration of the first woman Bishop in the Church of England, recording another disk of Christmas music with the Minster Choir , recording material for two disks relating to the Siege of York in 1644 with the Ebor Singers as well as a number of teaching and coaching sessions. I’m going to update my website soon with a page dedicated to my teaching and coaching activities, so if you’re interested in finding out more, watch this space…

Conductus Vol. 3

Conductus 3 session

Photo by Adrian Horsewood

At the beginning of April John Potter, Rogers Covey-Crump and I met at the National Centre for Early Music in York for the last time to record the final instalment of the Conductus project for Hyperion. As always, this was a wonderful few days in which we explored more of this fabulous forgotten repertoire in a way that has become second nature for us all. Having now spent a number of years with this music and amassed a considerable amount of it as ‘repertoire’ for the Three Medieval Tenors ensemble, it is amusing to think back to our initial attempts at bring this music off of the page. One of the initial steps of the CPI project was a research day in which the Southampton academics presented us with manuscripts (all completely alien and many almost illegible), and asked us to interpret them. One of the outcomes of this first step was to allow the academics to determine how much of the original notation could feasibly be incorporated into their finished editions. Based on our interpretations that day, I am surprised that they included any, however I am very pleased that they did! While reading from the source may not be the most direct way for a modern performer to interpret this music, with a little preparation it suddenly becomes a very liberating experience. By performing in this way we have cut out the middle-man and are given the responsibility of making decisions which would otherwise have been taken by an editor. While editors are usually very clear in justifying the decisions they have made, we as performers may see an alternative route in performance given the opportunity. An edition merely standardises the thoughts of one individual. The limits of modern notation also do not allow the performer to see the detail implied by the manuscript’s intrinsic graphic beauty and all of the additional information that this conveys. cantum original manuscript final hdrOf course the context of performance can limit the success of such an approach, but in a single voiced ensemble I have found this decision making very liberating. We have been lucky enough to perform this repertoire a number of times now in both a two- and three-voiced configuration, and each one has had an exciting almost improvisational feel to it. The decisions I have made have varied slightly from performance to performance. These decisions have obviously been influenced by the decisions made by my colleagues making each performance a unique event while still staying ‘true’ to the manuscript from which we are reading.

While the recording part of this project has now come to an end (we expect the final disk to be released sometime in the autumn), we are in the process of applying for a further AHRC funding to allow the live performance element to continue in 2015. This will likely include a programme of concerts and workshops across the UK and Europe. There has already been much interest from festivals and promoters, but if you would like to find out more about booking the live Conductus show, please contact RWhiteAM@aol.com

Finally, Conductus Vol. 2 was released in December and has received some lovely press. Here are some highlights:

John Potter, Christopher O’Gorman and Rogers Covey-Crump are musicians who are entirely inside the style and manage to present everything with impeccable taste and purity (Gramophone)

The three singers blend beautifully and each is attuned to the character of this graceful music … the recording is detailed yet resonant, serving the needs of lyric clarity whilst evoking a pleasingly airy ambience (BBC Music Magazine)

This fascinating and beautiful release … an impeccably performed and recorded programme (International Record Review)

Winter’s passing

IMG_2544With Christmas well forgotten and the revels of a significant birthday now just a hazy memory, it seems strange to look back over the festive music making of last year. Suffice it to say, there was rather a lot of singing – and not too much of the usual ‘stuff’. The highlights for me were definitely singing with Ex Cathedra again in two programmes; An Elizabethan Christmas with the viol consort Fretwork, as well as their annual Candlelight programme. This included a piece by my Minster Choir colleague Ian Colson – A Cause for Wonder, which was received enthusiastically by singers and audiences alike. I would definitely recommend checking out his music which is published by Boreas Music.

IMG_1694In January, I was asked by The Opera Group (now The Mahogany Opera Group) to take part in a workshop with the composer Emily Hall. I first came across Emily’s music when I heard her piece Rest – A Secular Requiem performed by the folk group Lady Maisery. It is evident that Emily approaches much of her work as song writing in the way a pop songwriter might, and the results are absolutely beautiful. She has been commissioned to write a concept album opera for TOG (currently being called Folie a Deux) which will be released and toured in 2015. During the workshop, I worked with Emily and the Group’s Director Frederic Wake-Walker exploring ideas of psychosis through movement and the voice. Emily is also keen that there is an electronic element to the piece, so we had fun experimenting with various electronic voice modifications. It was a fantastic day, and I learnt so much. Unfortunately my involvement in the project ended with the workshop, but I look forward to seeing the results when they appear.

IMG_2001Since January, I have been working regularly with Robert Hollingworth and his MA Vocal Ensemble (Voices of York) at The University of York. The group’s tenor was unable to complete the course, so I have been drafted in as a singer and assistant coach. It has been fascinating working with some very accomplished singers with a cathedral singing background getting to grips with some very unfamiliar repertoire. This term’s focus has been the madrigals of Monteverdi. It is absolutely sublime music, and Robert’s insights are very illuminating. However, singing in Italian has proved a challenge. We are starting to overcome this though and really beginning to make a pleasing noise as group! The fruits of these labours can be seen in VoY’s second assessed recital in April.

As well as this, the coming months’ activities include singing a predominantly improvised piece by Craig Vear in The Late Music Festival, a concert and workshops in Birmingham with the Binchois Consort and a concert in London with The Brabant Ensemble. I will also be joining the Chapter House Choir as the Evangelist for their performance of Bob Chilcott‘s St John Passion and John Potter, Rogers Covey-Crump and I will be meeting to record the final instalment of the Conductus project.

glassesOn an unrelated note, I bought a beautiful pair of Andy Wolfe glasses while in Amsterdam for my birthday in January. As beautiful as they are, the best part of getting them was the experience of actually buying them from Eye Respect on Herenstraat. Wilfried could not have been more helpful, and his after-sales care has been second to none. We are in email contact regularly now! If you are in Amsterdam, please go and visit this store. It is an experience just to browse, and the customer service is top class.

Conductus on iTunes in November

Conductus 2It is with much excitement that I can tell you that Conductus Vol. 2 is now available in iTunes! You can purchase your copy from here. And, if you’ve still not purchased Vol. 1 yet, then that is now available on iTunes too and can be purchased here. If you would prefer to marvel at the physical product, then you can order the cd directly from Hyperion here. Hurry though if you want to receive it in time for Christmas. It could provide the perfect antidote…

The Conductus project continues to gather momentum with John Potter, Rogers Covey-Crump and I due to record Vol. 3 early in 2014. While this is likely to be the final album, the live strand of the project is set to continue well into 2015 and beyond. With the continued support of the musicologists at Southampton University, we hope to keep developing the Three Medieval Tenor repertoire and are currently discussing touring schedules for 2014 and 2015. If you are interested in hosting either the two-voice or three-voice programme (with or without the fantastic film by Mick Lynch), then please contact Robert White Artist Management.

IMG_2365The rest of November has been quite quiet for me, but has been punctuated with two fantastic performances. Last Thursday I travelled to Malvern to sing a programme of Bach Motets with the Ex Cathedra Consort. While I have sung the Motets before, it has never been in a one-to-a-part situation. Performing in this way allowed all of the performers a certain degree of flexibility which is not always possible when singing with others, and this flexibility allowed the music to breath in a way that I have never experience before. It was an extremely exhilarating performance of what can only be described as life affirming music. The four Motets were interspersed with performances of two of Bach’s Cello Suites played by Andrew Skidmore. What a privilege to sit and listen to some of my favourite music in a concert that I was taking part in. Fantastic!

Earlier in the month I was able to relearn the role of Damon in Handel’s Acis and Galatea for a concert performance with Halesowen Choral Society. It was great to turn up and find that two of the other three soloists were also University of York and Choir of York Minster Alumni. William Knight and Nick Ashby were both on fine form (vocally and socially), and it was also lovely to meet Gemma King. The concert was a great success with the choir sounding extremely enthusiastic, and band playing very sensitively!

MinsterTime at home this month has been brilliant in allowing me to prepare for the onslaught of the festive season. It has also allowed me to catch up on a certain amount of correspondence and admin, and has prompted me to start thinking about projects for 2014 and beyond. So far, these include planning performances of the Three Medieval Tenors (as described above), workshops for a brand new opera project, a second incarnation of the male quartet which met earlier this year, a brand new a cappella group with a difference, and a solo voice programme. Unfortunately I can’t give away any more than that at the moment, but stay tuned and I will reveal all when I am able!

July 2013

IMG_1824July has been another busy month which has included a recording for NMC, two York Early Music Festival Concerts, a concert in the St Alban’s International Organ Festival and a BBC Prom.

The recording was an exciting two day affair in which we were rediscovering incidental music written by Britten for two plays by Auden and Isherwood; The Assent of F6 and On the Frontier. The scoring for both were similar being for voices (Ex Cathedra in this case), piano duet and percussion, as well as trumpets in On the Frontier. I was absolutely astounded by the colours which Britten was able to conjure with seeming limited forces. The soloists for The Assent were Andrew Kennedy and Jean Rigby, who were both fantastic to listen to. While much of the music is unknown, Britten reworked the The Assent’s Cabaret Jazz Song which later became part of his Cabaret Song cycle. This song sets the words (as featured in Four Weddings and a Funeral):

Stop all the clocks, cut off the telephone,
Prevent the dog from barking with a juicy bone,
Silence the pianos and with muffled drum
Bring out the coffin, let the mourners come.  WH Auden.

Ironically, we were recording this while Andy Murray was fighting for the Wimbledon title. When he eventually won (we caught the final games of the final set), the BBC Sport team tweeted the opening of this poem!

IMG_2076John Potter and I were very happy to be invited to perform a Conductus concert in York again this year. This event was jointly promoted by the York Early Music Festival (as last year), and the Plainsong and Medieval Music Society who were celebrating their 125th anniversary with a conference in York. We sang a short programme of pieces from the forthcoming Conductus II album in the very beautiful (if a little warm) undercroft of the Merchant Adventurer’s Hall. The place was packed and the audience seemed to respond well to the music, even without the film. I think the length was spot on for a late night slot, and there was still time for a pint afterwards. John and I are currently fixing details for two concerts we’re doing in September; in Southampton as part of a conference hosted by Mark Everest, and in Otterberg in Germany. Further details about Southampton will be posted when we have them, but you can see more about Otterberg here. We are pleased the Rogers Covey-Crump is able to join us for both of these, so we will be able to explore the three voice pieces further. We have also approved the second edit of Conductus II and are awaiting artwork so that production can begin soon. We expect it will be released in the autumn.

The second YEMF concert was with the Minster Choir. We performed a programme of Palestrina and Victoria along with some chant allegedly taken from the York Missal. The programme sought to explore the festival’s theme of ‘From Rome to York’ and was centred around Palestrina’s Missa Papae Marcelli, a work which we sing regularly as part of worship though not in a concert situation. The whole experience highlighted the stamina needed to sing a completely a cappella programme for a group who do it so infrequently. The feedback was lovely though and it is hoped that we can build on this success with more concerts in the future.

Three ChoirsThe Minster Choir were also asked to join the choirs of Salisbury and St Albans in a concert as part of the International Organ Festival in St Albans. This was a fantastic experience with the second half dedicated entirely to a massed performance of the Durufle Requiem. Andrew Lucas was insistent that this large choir pay particular attention to dynamics, the quiet moments especially. The effect was magical and made for rather an emotional performance. We received excellent hospitality too and experienced a real sense of camaraderie within our own choir as well as with the others.

IMG_2089Finally, I have spent the last week with Ex Cathedra in London preparing for a BBC Prom performance of Welt Parliament from Stockhausen’s Mittwoch aus Licht. Regular readers will remember what an amazing time I had last summer performing this piece in Birmingham under the direction of Graham Vick. Incidentally, that show won the Royal Philharmonic Society Award for Opera and Music Theatre. We had a great time performing it again, especailly in the Albert Hall which seems so well suited to Stockhausen’s music. It’s a mad piece (and perhaps more mad this time round without the context of the rest of the opera), but everyone seemed to appreciate it. We seem to be on a roll; who knows, we might get to do it again. Here are a selection of reviews:

‘brilliantly virtuosic and committed’

http://www.telegraph.co.uk/culture/music/proms/10192294/Proms-2013-Stockhausen-Ex-CathedraJeffrey-Skidmore-Kathinka-Pasveer-review.html

‘The performance standard was exceptional … the effect was unutterable moving, and completely unforgettable’

http://www.seenandheard-international.com/2013/07/22/proms-11-a-late-night-stockhausen-prom/

‘An unforgettable and thoroughly convincing performance’

http://www.bachtrack.com/review-bbc-prom-11-2013-stockhausen-welt-parlament

http://www.operatoday.com/content/2013/07/stockhausen_at_.php

http://www.classicalsource.com/db_control/db_prom_review.php?id=11228

‘Ex Cathedra were calmly but precisely led by conductor Jeffrey Skidmore and showed themselves to be a truly exceptional choir’

http://www.bernardhughes.co.uk/?p=995

Dutch dash!

IMG_1651Last week, Mrs O’G and I were able to take a little time out and travelled to Amsterdam for a short ‘city-break’ where we were able to indulge our love of great food, cycling and (interior furniture) design. The city is stunningly beautiful and unlike many other capitals, is relatively compact and extremely laid-back. The city has so much more to offer than the sex and drugs for which it is infamous. And 2013 is a particularly bumper year too as the city celebrates several anniversaries; particularly 400 years of their canals, the re-opening of the Rijksmuseum and the 40th anniversary of Van Gough Musem to name but a few.

IMG_1638Although the Rijksmuseum and Van Gough Museum were closed due to extensive refurbishment (and will both re-open as part of these celebrations later in the year), we were struck by just how much other culture is available. Away from the large national galleries and concert venues are hundreds of quirky and unexpected experiences to be had. What was more refreshing was the lack of embarrassment in promoting this culture either. There was no hint of elitism, or any perception that this could ever be possible. Art seems to be for all who want to consume it, in whatever capacity. The dutch are proud of their heritage (as are most nations), but also recognise that the present is just as important. While history is preserved, this is not used as an obstacle in allowing the city (or the arts) to progress and adapt to changing times, tastes and fashions. There is also a spirit of adventurousness that is so lacking (in the arts particularly) in this country; there seemed little sense of a project having to make a financial return, but rather a mentality of being allowed the space to take risks for art’s sake.

IMG_1725Although we did not experience any live music while there, I imagine this excitement and spirit of adventure is evident in all art forms including music. A random-sample look at some local groups’ websites shows some very innovative and daring programming – particularly in the juxtaposition of early and contemporary music (and not the sort you plug just to get bums-on-seats) – as well as the public and private financial support offered. I do hope to be able to experience this sense of adventure from a performers point of view sometime in the future – hopefully I can find a way into the Dutch music scene!

Holiday over, it’s time to get back to work. The schedule for the Minster Choir is accelerating towards Easter. This year, as well as the build up to the wonderful music of Holy Week and Easter Day itself, we will also be performing Bach’s St John Passion for the first time in a long while. The soloists have recently been announced as:

  • John Mark Ainsley – Evangelist
  • Iestyn Davies – counter tenor
  • Judith Cunnold – soprano
  • Neil Griffiths – tenor
  • Benedict Nelson – Pilate
  • Roland Wood – Christus/bass

Further details can be found here.

The Ebor Singers also have a busy month as Easter approaches. They will be performing a Passiontide programme in the Minster’s sublime Chapter House on the 20th of March, and their now traditional performance of Stainer’s Crucifixion will take place on the 27th. They will also be participating in a hand-full of Lenten Compline services. Further details can be found here.

2013-Conductus-222x-01In April, John Potter and I will be performing the two-voice Conductus programme as part of the Cambridge Festival of the Voice. This will take place in the Emmanuel United Reform Church on the 13th and will feature similar repertoire to our YEMF appearance last year, as well as some new material from the forthcoming second disk. They will also be showing Mick Lynch‘s film which accompanies the programme, and John will be giving a pre-concert talk about the whole project. It should be an action packed weekend!

Conductus Vol II and Britten

DSC_0095The New Year has been filled with recordings so far. In early January, in this year of Benjamin Britten’s centenary, I was in London recording Britten’s War Requiem with the Gabrieli Consort. This disk will be the third in their Wratislavia Cantans Oratorio Series in collaboration with the festival of that name as well as the Wroclaw Philharmonic Choir & Orchestra and young singers who have been involved in the Gabrieli Young Singers’ Scheme. With such vast forces involved, one can image that the loud bits were pretty loud! However, Paul McCreesh also coaxed some exquisite quiet singing from the assembled masses. Although I have sung the piece before, I had forgotten how exciting Britten’s orchestration is. The brass fanfares in particular during the Dies Irae are mind-blowing – such evocative writing. The only downside to the sessions was that we didn’t get to hear much of the stella array of soloists; Susan Gritton, John Mark Ainsley and Christopher Maltman. I can’t wait to hear the final outcome!

NCEM3Then last week, John Potter, Rogers Covey-Crump and I returned to the National Centre for Early Music to record the second disk of the Conductus project for Hyperion Records. It was an intensive few days, but I think the results will be wonderful. Having made one recording already and performed the music live, we have definitely developed a collective sense of style. We have also got to grips with the editions which provide the performer with a mix of standard notation and clips of the manuscript. While I was sceptical about the time involved in preparing these scores for performance over the convenience of standard chant notation, I am now convinced that the results during performance are significantly different and worth the time spent with the manuscript. We could not have got the results we have without the amazing production and engineering skills of Jeremy Summerly and Julian Millard, and of course Mark Everist who was on hand to clear up any musicological questions. Thanks also to Mark’s team of musicologists in Southampton who prepared the editions.

conductus recording photoJohn and I will be performing the two voice version of the programme with Mick Lynch‘s film at Trinity College, Cambridge on the 13 April during their Festival of the Voice. The first outing of the three voice version with Rogers Covey-Crump will be in Southampton in September with the video. Both programmes are also available as full length concerts with an interval but without the film and the repertoire will continue to develop for both as we prepare for the final recording. Further details are available on my Conductus page, or from Robert White (RWhiteAM@aol.com).

Finally, thanks to Stephanie Puzey Broomhead for braving the cold and snow with me this weekend to take some new promo pics which you will see popping up on the website soon.

December 2012 – Christmas is almost upon us!

After a few days rest following the London Quartet America tour, the busy run up to Christmas has begun. This was kick-started by my favourite service of the year at York Minster – The Advent Procession. The Cathedral begins in darkness, and as the evening progresses with readings and music, candlelight is spread from the west to the east of the congregation. It really is a magical experience. This stop motion film of last year’s service gives a sense of the effect.

The musical highlight for me was Sandström’s Es ist ein Ros’ entsprungen which was new to me. This is only the second piece of his that I have come across, the other being his completion of Purcell’s Hear my Prayer, but on the strength of these his work is definitely worth exploring further.

DSC_0076Our Minster commitment continues with the second of our Carol concerts taking place on Friday the 14th, two Nine Lessons and Carols services on the 23rd and 24th as well as the special services of Christmas Eve and Christmas day. For a full list of the Minster’s Christmas activities, visit their website.

I have also been singing with Ex Cathedra this month. They have a busy schedule of Christmas Music by Candlelight concerts, which are an inventive combination of words and music in several venues in and around Birmingham. As the name suggests, these are lit solely by candlelight, which can present a challenge when trying to read new pieces by the likes of Stephanie Martin, Panufnick, Esenvalds and Runswick. This clever programme not only conveys a beautiful sense of the meaning of Christmas, but also also manages to provide a retrospective of the choir’s activities of the past 12 months. Jeffrey Skidmore’s programme note sums this up perfectly. I am singing the programme four more times in Hagley (11th), St John’s Smith Square (13th) and St Paul’s, Birmingham (18th and 19th).

In addition, the Ex Cathedra Consort (solo voices) also had two concerts in York and Birmingham. These explored the rich Christmas repertoire of the South American Renaissance in the first half, and juxtaposed this with more familiar French and early English repertoire in the second. Both concerts were sold out to very appreciative audiences. In Birmingham, we had the opportunity to explore the incredible facilities of the new Bramall Music Building at the university with it’s stunningly flexible Elgar Concert Hall. This place really sets the president for departments where students are expected to pay up to £9,000 in tuition fees.

20121212-105823.jpgStill to come, The Ebor Singers will be performing their Ceremony of Carols programme in the Chapter House of York Minster on Saturday 13th. This year the Britten will be accompanied on the harp by Melanie Jones. The programme will also include the premier of Ian Colson’s Angelus pastores as well as new pieces by Campkin and Campbell. Tickets can be purchased via the Minster Box Office.

Finally, as light relief from all the Christmas stuff, John Potter and I met yesterday to rehearse the new music for Conductus Vol II which we will be recording in January 2013. It was fantastic to get back into the mindset of reading from manuscripts and it all felt surprisingly familiar. With the experience of the last recording as well as singing the Conductus live, I think the second recording experience is going to be a real pleasure. We also heard this week that there are a couple of concerts in the pipeline for 2013. I’ll post more details once they are confirmed!

As I said previously, I am still working on a new programme idea, so keep an eye on this new page for more details soon.

Conductus reviews

I am delighted to say that the Conductus Vol. 1 recording which was released by Hyperion in September has begun to receive some rather favourable reviews. Unfortunately not all are available online, but I have included some extracts below along with links to those that are.

Gramophone

There have been remarkably few recordings of the conductus repertory – those marvellous settings of mainly accentual Latin goliardic poetry from the years around 1200 … John Potter is one of the most experienced singers in the world for this kind of music and he is magically balanced by the glorious voice of the much younger Christopher O’Gorman. For the three-voice pieces the still impeccable Rogers Covey-Crump joins them … These are seriously classy performances.

The Observer

What is, or are, conductus? The body of anonymous medieval songs, usually sacred but not liturgical and mostly forgotten, flowered in France in the mid-13th century around the time of the Notre Dame school. This new Hyperion disc … should reawaken interest in this beguiling repertory. The poems are about life, death, salvation and, naturally, the frail virtues of women. (“He who strives to keep and lock in a roving young woman/Is washing a brick.”) Three tenors – John Potter, Christopher O’Gorman and Rogers Covey-Crump – deliver these explorations with unerring skill and conviction

Classical Music Magazine

I found Christopher O’Gorman’s tenor, with a tonal spectrum wide enough to hold the interest without gilding the lily, very pleasing.

Musicweb International

The tenors, Rogers Covey-Crump, Christopher O’Gorman and John Potter eschew effect, reverberation and atmosphere in this hour of highly satisfying singing. They favour substance. In the first place, every word, every syllable, is clear. Distinct yet gentle French Latin pronunciation is employed. They simply trust the honest exuberance of the conductus … and it works.

John Potter, Rogers Covey-Crump and I are heading back to the NCEM In January to record Volume 2 and will therefore have a substantial amount of material under our belts ready for live performance. If you are interested in booking a two or three voice programme, please contact Robert White Artist Management on RWhiteAM@aol.com.