Fiery, sumptuous singing
La Nuova Musica, under David Bates, sound lush and languid in two of Bach’s alto cantatas (BWV 54 & 170). They let phrases sigh and breathe and supply a decent amount of bass under properly expressive melodic lines. In Pergolesi’s Stabat Mater, the ensemble sounds sparser but not astringent, and I love the space and tenderness Bates allows in the aria Fac, ut portem Christi mortem. And the singing? Crowe and Mead are both in sumptuous voice, and both fiery in the most dramatic moments of the Stabat Mater
Gramophone Critic's Choice, 2016
Most enticing about La Nuova Musica is the sense that their performances are born of a marriage of equals, music-making as collaboration not dictatorship. With this recording it results in a perfect balance of surprising by clever combination of voices, dramatic but pure delivery, and a simple but musically substantial programme.
The performance is exemplary, crisply conducted by David Bates and illuminated by stylish contributions from the soprano Lucy Crowe, the mezzo Madeleine Shaw and the countertenor Clint van der Linde.
Technically, the playing and singing are beyond reproach. The overall clarity is breathtaking, demonstrating conductor David Bates’ remarkably clear ideas about what this music should sound like.
Four out of five stars
This inspired coupling brings together three of the most powerful small-scale early oratorios: To these affecting narratives (separated by instrumental interludes by De Brossard), La Nuova Musica bring superbly straight tone, unerring tuning and plangent phrasing.”
David Bates and La Nuova Musica offer deft support, at their best in the orchestral overtures and sinfonias where they can stretch their stylistic legs
Photo Credit: Ben Ealovega & Andy Staples
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