The fount of grace

"The Orlando Consort is in the process of recording Machaut's complete works, 143 of them, using editions recent and forthcoming ... Not surprisingly, the singers' approach to these thirteen pieces is just as they have presented us with before; that is, that technically they are outstanding as an ensemble ... Diction is not only immaculate but also the way they use consonants and vowels to add drama and propulsion is exciting, as in a song like the four-part De toutes flours, which, appropriately, opens the disc ... These are not necessarily my favourite Machaut performances but if you are new to Machaut and indeed to this series, of which this the seventh in the Orlando Consort's recordings, I strongly suggest that this disc, with its variety of forms and tempi, may be a good place to commence your journey".

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"This is now the sixth disc in the project to record all of the works of Machaut ... The Orlandos sing ... with much gusto, delight and a superb use of diction. For contrast, the melancholy Ballade, Dame, comment qu'amez is, I feel, very beautiful and is beautifully performed by Matthew Venner and Agnus Smith ... But other performances do not always connect with me ... It might have been more interesting and informative for all concerned if different groups or singers had been involved. As good as the Orlando Consort often are, there is a sameness about these recordings which is beginning to pall. So I'm sorry that I can't give this new CD a clean bill of health, as it were. I know others will praise it".

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"In this enticing and entirely satisfying collection of substantial works by Machaut, the Orlando Consort continues its series, begun for Hyperion with Le Voir Dit, followed by The Dart of Love, and A Burning Heart. The penetration and purity of their singing convey great insight into the music of a composer whom they consider 'close to the summit' of the greatest composers of all time ... The Orlando Consort sings with a superb blend of sophisticated delivery and sweetness, with a gentleness that results in a whole".

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"The four-person Orlando Consort ... specialises in vocal music from the middle of the eleventh to the middle of the sixteenth century. The Lion of Nobility is the eighth in their series for Hyperion of Machaut's (c1300 - 1377) music. And it's a splendid hour's worth ... There is as much spontaneity and drive in the Orlando Consort's singing as there is controlled precision ... The Orlando Consort's freshness, enthusiasm and colourful precision make it a truly distinguished collection. It's hard to think that anyone new to such repertoire will not be impressed by the clarity and force of these singers - a persuasive introduction to Machaut".

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"If I've calculated correctly, this is the eighth release by the Orlando Consort in their on-going complete Machaut series, which means, I think, that we are now about half way ... If you are collecting this series, you will have performances of Machaut which are as good as any of us might ever have expected to encounter ... I find the individual voices of the consort to be tonally rather mixed, but together they prove themselves to be truly virtuosic, not only in intonation, but also in their delivery of the medieval French text, which is almost always expressive and clear. The solo Virelais, especially 'Dames, se vous m'estes lontienne', come off especially well, Matthew Venner's pacing and poise are particularly welcome".

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"It goes without saying that the performances of the Orlando Consort here easily maintain the high performance standards of the previous instalments. Their enunciation of the Old French texts is deeply impressive and only amplifies the effortless accuracy of their singing. Recording standards are in the best Hyperion tradition. Those who are collecting this excellent series need not hesitate".

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"What makes this fifth disc especially pleasing however is the variety moving between monophonic songs such as Dame, je vueil endure, pieces for two voices as in Dame, mon cuer enportez and the more common, three-part pieces, and these are divided up between the four singers ... I would still whole-heartedly recommend this disc as a good investment, especially if you are unfamiliar with Machaut".

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"Editor's choice: I love a big recording project planned with superb scholarship, lively programming and consistent performances, and this Machaut series on Hyperion has it all. This newest album builds around the imagery of the rose, and has a superb booklet note ... exploring the many connections with 'Le roman de la rose' ... This is perhaps the most helpful summation of the present Orlando Consort sound: they bring a gently extrovert storytelling style to Machaut ... The results are arresting and immediate".

"The centrepiece of this disc is Le lay de confort, a setting of the longest, a setting of the longest of the poetic forms available to Machaut ... The Orlandos show remarkable staying power here, given the decision throughout to project the music and text 'loud and clear', as Machaut might have put it. As this recital progresses one is struck yet again with the sheer consistency of Machaut's art".

"In the penultimate instalment of their Machaut series, The Orlando Consort tackle a pinnacle of the composer's output, the 'Lay de la fonteinne', a reflection on the Virgin Mary to whom Machaut speaks directly, at times in a very direct language ... The Orlandos bring to the table many years of experience of singing together ... I admire their deep commitment to Machaut's art ... At all times throughout this series, Machaut's range is still astonishing".

"Editor's choice: A constant delight ... You have Machaut at his most engaging and varied; but this really is one bullseye after another ... Rarely since the Gothic Voices has the vocalisation of the lower lines appeared so self-evidently the right approach ... The Orlandos at their very best, and if I hear a finer recording of 14th-century music this year I'll be very surprised".

"In this third instalment of the series, The Orlando Consort present a kind of minimalist Machaut. Most of the songs on this disc are monodic virelais or two-voice pieces ... The aforementioned virelais are marvels in this respect, here lucid and seemingly effortless, there tortuous and deliciously unpredictable ... A masterclass in maximum variety gleaned from minimal means ... A very impressive recital".

"Editor's choice: The real headline performance on this album is the lai 'En demantant et lamentant' ... it is here performed TTB, with voices taking the texted part in turn as the others vocalise. The result is rich, mesmeric and deeply moving ... The famous rondeau 'Ma fin est mon commencement' (My end is my beginning) is especially pleasing in this thoughtful, clear performance. The Orlando Consort bear Machaut's virtuoso writing lightly and keep the text clearly in the foreground ... Another wonderful and fascinating instalment in this impressive series".

"Five volumes in Hyperion's Machaut series shows no sign of running out of puff. In large part that's due to Machaut's seemingly inexhaustible invention ... The moods of these settings bridge the centuries almost effortlessly ... As with previous volumes, the programming of this series is deeply impressive ... As to the vocal quality, the Orlandos' house style is flexible enough to accommodate a full-throated approach, as ... compelling sense of ensemble".